Fourth year ENGLISH students

[mesho ~]

http://i140.photobucket.com/albums/r5/foxylayouts/comments/hello/blackRoseReflectWelcom.gif

:bgs15: hello


:g8:congratulations girls finally we are 4 year

:119: i hope that you are well prepared for this year



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what am doing here is similar to what i did }{ last year ||~

, it was wonderful how we all cooperated with each other

:049:http://www.m4n4.com/vb/images/smilies/23.gif I was so proud of us



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<< and for this reason

i decided to make " this page for " fourth year only

:g8: (http://www.banatcool.jeeran.com/welcome.jpg)so we all benefit from each other


http://www.m4n4.com/vb/images/smilies/213.gif good luck all ||~

[SmSo]

:love080::love080::love080::love080:


Go MeshoOo Go


http://smiles.oo3o.com/small-smiles/images/1/small%20(27).gif (http://www.oo3o.com)http://smiles.oo3o.com/small-smiles/images/1/small%20(27).gif (http://www.oo3o.com)http://smiles.oo3o.com/small-smiles/images/1/small%20(27).gif (http://www.oo3o.com)


الله يسهلها لنــــا يارب ونتخرج كلنــــا :praying:

http://smiles.oo3o.com/small-smiles/images/1/small%20(22).gif (http://www.oo3o.com)http://smiles.oo3o.com/small-smiles/images/1/small%20(22).gif (http://www.oo3o.com)

[mesho ~]

smso baib :love080:

http://www.ckfu.org/vb/images/icons/icon18.gifameeeeeeeeeeeeeeen , thank you for being here ..

[mesho ~]

These are the books fore


the prose

the portrait of a lady

&

mrs.dalloway

ـــــــــــــــــــــ

drama

The master builder }{ henrik ibsen

&

pygmalion }{ george bernard shaw


:love080:

[روند22]

:d5::d5:thanks mesho
good luck all

[whisperlips]

يسلموووو ميشووووو ع الفكره


يعطيكم الف عاافيه


وبااالتوووفيق ان شااء الله

[غـداً يوم آخر]

:d5:

بالتوفيــق يا بنات سنه رابعه ......
وعقبال تخرجكم يارررب



دعواتي لكم .

[أمولة04]

Thanx mesho 4 ur efforts
it's really helpful to make such a useful bage
Go a head my dear:d5::d5::d5[FONT="FONT]:

[القصواء]

Good idea mesho

i'm third year

Good luck to you and we

:)

Girls why we don't make page for third year
becz i think it's hard year :000:
:000:
Do you agree with me ?

[monica]

meshooooooooooooooo i can smell forth year on ur page loooool

i`m soooo excited a bout this year may allah ybarek lna feha o nenja7


thaaaaaaaaanx a lot for ur great effort

:g8::g8::love080:

[mesho ~]

:119: :119: :119:

oh thaaaaaaaaaaaaaaaaanx girls for your excitmente & for being here ..

:love080:

[غـداً يوم آخر]

ميشوو المـوضـوع مثبت ....

تعاونكم ومجهودك يستحق الشكر ..
ليت كل البنات مثلكم في التعاون ..

:119:

[baby-face]

ثانكس ميشـــــــــو جد وأخيرا رابـــــــــع الله يسهلها عالجميع
وجزاك ربي ألف خيـــــــــر
وعقبال مانتخرج
آميـــــــــن

[كيلو تناحة]

thaaaaaaaaaaaaaaaanx meshooooo
your efforts are great:119:

[Little Angel]

شكرا عالموضوع الرائع يا mesho~ موضوع فعلا مفيد......:g8:......
امممممممممم
الف الف مبروك :mh001: و أخيرا صرتوا سنة رابعة عقبال التخرج ان شاءالله :praying: .............
في سؤال بخاطري داخل عرض بالموضوع بس ابي اعرف جوابه :mh19:
الحين في بحث تخرج والا لا ؟؟يعني انتو لازم تكتبون بحث للتخرج هالسنة ؟؟؟



وبالتوفيق:119:

[mesho ~]

farewell smile

thank you my dear , your presence is wonderfull :love080:

[mesho ~]

baby face

ameeeeeeen ya rb

ــــــــــــــــــــ

كيول تناحه : your more than welcom .

ـــــــــــــــــــــ

little angel

i don't know dear ! but i "ll have to get back to you later

ــــــــــــــــــــــــ

molly

hony i already wrote the books in the previous page

and the rest of the books inshalla in this week .


........

[mesho ~]

The poems for poetry are :

The soldier -1
The peace -2

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The Soldier - a poem by Rupert Brooke


The Soldier
Rupert Brooke

If I should die, think only this of me:
That there's some corner of a foreign field
That is forever England. There shall be
In that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam;
A body of England's, breathing English air,
Washed by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter, learnt of friends; and gentleness,
In hearts at peace, under an English heaven.


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unfotunately i did'nt find the other one if anyone finds it please put it here ..

[baby-face]

صباحكم مسآكم وردوفل وياسمين,,
بنات وشو السايت اللي دكتورةأميمة قالت عنه?
وثانكس ميشوعالpoems

[mesho ~]

baby face }{

d.amema wanted us to make a page so she can uplode the lectures in it >>

molly }{

you'r more than welcom dear ..

[moon2]

meshooooo

thanks alot honey

:d5::bye::bye::bye:
I want to ask you about the linguistics

where can I find the lectures

?
:066:

:g2:

[moon2]

انا انتســـــــــــــاب

[mesho ~]

تلقينهم هنا بهذا الرابط بس لازم تسجلين عشان تقدري تحملي المحاضرات


http://groups.google.com/group/eng-dep-senior?hl=en

وبالتوووووفيق ..

[moon2]

thanks alot

[moon2]

هااااي بنوتات

كيف حالكم

حبيت اجيب لكم
the plot
for

The Portrait of a Lady

وكمان راح انزل بعض الاشياء اللي تفيدكم في الروايه





Plot Overview
Isabel Archer is a woman in her early twenties who comes from a genteel family in Albany, New York, in the late 1860s. Her mother died when she was a young girl, and her father raised her in a haphazard manner, allowing her to educate herself and encouraging her independence. As a result, the adult Isabel is widely read, imaginative, confident in her own mind, and slightly narcissistic; she has the reputation in Albany for being a formidable intellect, and as a result she often seems intimidating to men. She has had few suitors, but one of them is Caspar Goodwood, the powerful, charismatic son of a wealthy Boston mill owner. Isabel is drawn to Caspar, but her commitment to her independence makes her fear him as well, for she feels that to marry him would be to sacrifice her freedom.

Shortly after Isabel's father dies, she receives a visit from her indomitable aunt, Mrs. Touchett, an American who lives in Europe. Mrs. Touchett offers to take Isabel on a trip to Europe, and Isabel eagerly agrees, telling Caspar that she cannot tell him whether she wishes to marry him until she has had at least a year to travel in Europe with her aunt. Isabel and Mrs. Touchett leave for England, where Mrs. Touchett's estranged husband is a powerful banker. Isabel makes a strong impression on everyone at Mr. Touchett's county manor of Gardencourt: her cousin Ralph, slowly dying of a lung disorder, becomes deeply devoted to her, and the Touchetts' aristocratic neighbor Lord Warburton falls in love with her. Warburton proposes, but Isabel declines; though she fears that she is passing up a great social opportunity by not marrying Warburton, she still believes that marriage would damage her treasured independence. As a result, she pledges to accomplish something wonderful with her life, something that will justify her decision to reject Warburton.

Isabel's friend Henrietta Stackpole, an American journalist, believes that Europe is changing Isabel, slowly eroding her American values and replacing them with romantic idealism. Henrietta comes to Gardencourt and secretly arranges for Caspar Goodwood to meet Isabel in London. Goodwood again presses Isabel to marry him; this time, she tells him she needs at least two years before she can answer him, and she promises him nothing. She is thrilled to have exercised her independence so forcefully. Mr. Touchett's health declines, and Ralph convinces him that when he dies, he should leave half his wealth to Isabel: this will protect her independence and ensure that she will never have to marry for money. Mr. Touchett agrees shortly before he dies. Isabel is left with a large fortune for the first time in her life. Her inheritance piques the interest of Madame Merle, Mrs. Touchett's polished, elegant friend; Madame Merle begins to lavish attention on Isabel, and the two women become close friends.

Isabel travels to Florence with Mrs. Touchett and Madame Merle; Merle introduces Isabel to a man named Gilbert Osmond, a man of no social standing or wealth, but whom Merle describes as one of the finest gentlemen in Europe, wholly devoted to art and aesthetics. Osmond's daughter Pansy is being brought up in a convent; his wife is dead. In secret, Osmond and Merle have a mysterious relationship; Merle is attempting to manipulate Isabel into marrying Osmond so that he will have access to her fortune. Osmond is pleased to marry Isabel, not only for her money, but also because she makes a fine addition to his collection of art objects.

Everyone in Isabel's world disapproves of Osmond, especially Ralph, but Isabel chooses to marry him anyway. She has a child the year after they are married, but the boy dies six months after he is born. Three years into their marriage, Isabel and Osmond have come to despise one another; they live with Pansy in a palazzo in Rome, where Osmond treats Isabel as barely a member of the family: to him, she is a social hostess and a source of wealth, and he is annoyed by her independence and her insistence on having her own opinions. Isabel chafes against Osmond's arrogance, his selfishness, and his sinister desire to crush her individuality, but she does not consider leaving him. For all her commitment to her independence, Isabel is also committed to her social duty, and when she married Osmond, she did so with the intention of transforming herself into a good wife.

A young American art collector who lives in Paris, Edward Rosier, comes to Rome and falls in love with Pansy; Pansy returns his feelings. But Osmond is insistent that Pansy should marry a nobleman, and he says that Rosier is neither rich nor highborn enough. Matters grow complicated when Lord Warburton arrives on the scene and begins to court Pansy. Warburton is still in love with Isabel and wants to marry Pansy solely to get closer to her. But Osmond desperately wants to see Pansy married to Warburton. Isabel is torn about whether to fulfill her duty to her husband and help him arrange the match between Warburton and Pansy, or to fulfill the impulse of her conscience and discourage Warburton, while helping Pansy find a way to marry Rosier.

At a ball one night, Isabel shows Warburton the dejected-looking Rosier and explains that this is the man who is in love with Pansy. Guiltily, Warburton admits that he is not in love with Pansy; he quietly arranges to leave Rome. Osmond is furious with Isabel, convinced that she is plotting intentionally to humiliate him. Madame Merle is also furious with her, confronting her with shocking impropriety and demanding brazenly to know what she did to Warburton. Isabel has realized that there is something mysterious about Madame Merle's relationship with her husband; now, she suddenly realizes that Merle is his lover.

At this time, Ralph is rapidly deteriorating, and Isabel receives word that he is dying. She longs to travel to England to be with him, but Osmond forbids it. Now Isabel must struggle to decide whether to obey his command and remain true to her marriage vows or to disregard him and hurry to her cousin's bedside. Encouraging her to go, Osmond's sister, the Countess Gemini, tells her that there is still more to Merle and Osmond's relationship. Merle is Pansy's mother; Pansy was born out of wedlock. Osmond's wife died at about the same time, so Merle and Osmond spread the story that she died in childbirth. Pansy was placed in a convent to be raised, and she does not know that Merle is her real mother. Isabel is shocked and disgusted by her husband's atrocious behavior—she even feels sorry for Merle for falling under his spell—so she decides to follow her heart and travel to England.

After Ralph's death, Isabel struggles to decide whether to return to her husband or not. She promised Pansy that she would return to Rome, and her commitment to social propriety impels her to go back and honor her marriage. But her independent spirit urges her to flee from Osmond and find happiness elsewhere. Caspar Goodwood appears at the funeral, and afterwards, he asks Isabel to run away with him and forget about her husband. The next day, unable to find her, Goodwood asks Henrietta where she has gone. Henrietta quietly tells him that Isabel has returned to Rome, unable to break away from her marriage to Gilbert Osmond

[moon2]

وهذي الشخصيات

اقرأوها واعملو لها تلخيص




Character List
Isabel Archer - The novel's protagonist, the Lady of the title. Isabel is a young woman from Albany, New York, who travels to Europe with her aunt, Mrs. Touchett. Isabel's experiences in Europe—she is wooed by an English lord, inherits a fortune, and falls prey to a villainous scheme to marry her to the sinister Gilbert Osmond—force her to confront the conflict between her desire for personal independence and her commitment to social propriety. Isabel is the main focus of Portrait of a Lady, and most of the thematic exploration of the novel occurs through her actions, thoughts, and experiences. Ultimately, Isabel chooses to remain in her miserable marriage to Osmond rather than to violate custom by leaving him and searching for a happier life.
Gilbert Osmond - A cruel, narcissistic gentleman of no particular social standing or wealth, who seduces Isabel and marries her for her money. An art collector, Osmond poses as a disinterested aesthete, but in reality he is desperate for the recognition and admiration of those around him. He treats everyone who loves him as simply an object to be used to fulfill his desires; he bases his daughter Pansy's upbringing on the idea that she should be unswervingly subservient to him, and he even treats his longtime lover Madame Merle as a mere tool. Isabel's marriage to Osmond forces her to confront the conflict between her desire for independence and the painful social proprieties that force her to remain in her marriage.
Madame Merle - An accomplished, graceful, and manipulative woman, Madame Merle is a popular lady who does not have a husband or a fortune. Motivated by her love for Gilbert Osmond, Merle manipulates Isabel into marrying Osmond, delivering Isabel's fortune into his hands and ruining Isabel's life in the process. Unbeknownst to either Isabel or Pansy, Merle is not only Osmond's lover, but she is also Pansy's mother, a fact that was covered up after Pansy's birth. Pansy was raised to believe that her mother died in childbirth.
Ralph Touchett - Isabel's wise, funny cousin, who is ill with lung disease throughout the entire novel, which ends shortly after his death. Ralph loves life, but he is kept from participating in it vigorously by his ailment; as a result, he acts as a dedicated spectator, resolving to live vicariously through his beloved cousin Isabel. It is Ralph who convinces Mr. Touchett to leave Isabel her fortune, and it is Ralph who is the staunchest advocate of Isabel remaining independent. Ralph serves as the moral center of Portrait of a Lady: his opinions about other characters are always accurate, and he serves as a kind of moral barometer for the reader, who can tell immediately whether a character is good or evil by Ralph's response to that character.
Lord Warburton - An aristocratic neighbor of the Touchetts who falls in love with Isabel during her first visit to Gardencourt. Warburton remains in love with Isabel even after she rejects his proposal and later tries to marry Pansy simply to bring himself closer to Isabel's life.
Caspar Goodwood - The son of a prominent Boston mill owner, Isabel's most dedicated suitor in America. Goodwood's charisma, simplicity, capability, and lack of sophistication make him the book's purest symbol of James's conception of America.
Henrietta Stackpole - Isabel's fiercely independent friend, a feminist journalist who does not believe that women need men in order to be happy. Like Caspar, Henrietta is a symbol of America's democratic values throughout he book. After Isabel leaves for Europe, Henrietta fights a losing battle to keep her true to her American outlook, constantly encouraging her to marry Caspar Goodwood. At the end of the book, Henrietta disappoints Isabel by giving up her independence in order to marry Mr. Bantling.
Mrs. Touchett - Isabel's aunt. Mrs. Touchett is an indomitable, independent old woman who first brings Isabel to Europe. The wife of Mr. Touchett and the mother of Ralph, Mrs. Touchett is separated from her husband, residing in Florence while he stays at Gardencourt. After Isabel inherits her fortune and falls under the sway of Merle and Osmond, Mrs. Touchett's importance in her life gradually declines.
Pansy Osmond - Gilbert Osmond's placid, submissive daughter, raised in a convent to guarantee her obedience and docility. Pansy believes that her mother died in childbirth; in reality, her mother is Osmond's longtime lover, Madame Merle. When Isabel becomes Pansy's stepmother, she learns to love the girl; Pansy is a large part of the reason why Isabel chooses to return to Rome at the end of the novel, when she could escape her miserable marriage by remaining in England.
Edward Rosier - A hapless American art collector who lives in Paris, Rosier falls in love with Pansy Osmond and does his best to win Osmond's permission to marry her. But though he sells his art collection and appeals to Madame Merle, Isabel, and the Countess Gemini, Rosier is unable to change Gilbert's mind that Pansy should marry a high-born, wealthy nobleman, not an obscure American with little money and no social standing to speak of.
Mr. Touchett - An elderly American banker who has made his life and his vast fortune in England who is Ralph's father and the proprietor of Gardencourt. Before Mr. Touchett dies, Ralph convinces him to leave half his fortune to his niece Isabel, which will enable her to preserve her independence and avoid having to marry for money.
Mr. Bantling - The game Englishman who acts as Henrietta's escort across Europe, eventually persuading her to marry him at the end of the novel.
Countess Gemini - Osmond's vapid sister, who covers up her own marital infidelities by gossipping constantly about the affairs of other married women. The Countess seems to have a good heart, however, opposing Merle's scheme to marry Osmond and Isabel and eventually revealing to Isabel the truth of Merle's relationship to Osmond and Pansy's parentage

[moon2]

وهذا تحليل عام للروايه ارجو انه يفيدكم

بنوتااات ادعو لي اني انجح

ميشوو

ايش رأيك نعمل جدول للمذاكره

نمشي عليه حبه حبه



Analytical Overview
The Portrait of a Lady explores the conflict between the individual and society by examining the life of Isabel Archer, a young American woman who must choose between her independent spirit and the demands of social convention. After professing and longing to be an independent woman, autonomous and answerable only to herself, Isabel falls in love with and marries the sinister Gilbert Osmond, who wants her only for her money and who treats her as an object, almost as part of his art collection. Isabel must then decide whether to honor her marriage vows and preserve social propriety or to leave her miserable marriage and escape to a happier, more independent life, possibly with her American suitor Caspar Goodwood. In the end, after the death of her cousin Ralph, the staunchest advocate of her independence, Isabel chooses to return to Osmond and maintain her marriage. She is motivated partly by a sense of social duty, partly by a sense of pride, and partly by the love of her stepdaughter, Pansy, the daughter of Osmond and his manipulative lover Madame Merle.

As the title of the novel indicates, Isabel is the principal character of the book, and the main focus of the novel is on presenting, explaining, and developing her character. James is one of America's great psychological realists, and he uses all his creative powers to ensure that Isabel's conflict is the natural product of a believable mind, and not merely an abstract philosophical consideration. In brief, Isabel's independence of spirit is largely a result of her childhood, when she was generally neglected by her father and allowed to read any book in her grandmother's library; in this way, she supervised her own haphazard education and allowed her mind to develop without discipline or order. Her natural intelligence has always ensured that she is at least as quick as anyone around her, and in Albany, New York, she has the reputation of being a formidable intellect.

After she travels to England with her aunt, Mrs. Touchett, however, it becomes clear that Isabel has a woefully unstructured imagination, as well as a romantic streak that suits her position as an optimistic, innocent American. (For James, throughout Portrait of a Lady, America is a place of individualism and naïveté, while Europe is a place of sophistication, convention, and decadence.) Isabel often considers her life as though it were a novel. She also has a tendency to think about herself obsessively and has a vast faith in her own moral strength—in fact, recognizing that she has never faced hardship, Isabel actually wishes that she might be made to suffer, so that she could prove her ability to overcome suffering without betraying her principles.

When Isabel moves to England, her cousin Ralph is so taken with her spirit of independence that he convinces his dying father to leave half his fortune to Isabel. This is intended to prevent her from ever having to marry for money, but ironically it attracts the treachery of the novel's villains, Madame Merle and Gilbert Osmond. They conspire to convince Isabel to marry Osmond in order to gain access to her wealth. Her marriage to Osmond effectively stifles Isabel's independent spirit, as her husband treats her as an object and tries to force her to share his opinions and abandon her own.

This is the thematic background of Portrait of a Lady, and James skillfully intertwines the novel's psychological and thematic elements. Isabel's downfall with Osmond, for instance, enables the book's most trenchant exploration of the conflict between her desire to conform to social convention and her fiercely independent mind. It is also perfectly explained by the elements of Isabel's character: her haphazard upbringing has led her to long for stability and safety, even if they mean a loss of independence, and her active imagination enables her to create an illusory picture of Osmond, which she believes in more than the real thing, at least until she is married to him. Once she marries Osmond, Isabel's pride in her moral strength makes it impossible for her to consider leaving him: she once longed for hardship, and now that she has found it, it would be hypocritical for her to surrender to it by violating social custom and abandoning her husband.

In the same way that James unites his psychological and thematic subjects, he also intertwines the novel's settings with its themes. Set almost entirely among a group of American expatriates living in Europe in the 1860s and 70s, the book relies on a kind of moral geography, in which America represents innocence, individualism, and capability; Europe represents decadence, sophistication, and social convention; and England represents the best mix of the two. Isabel moves from America to England to continental Europe, and at each stage she comes to mirror her surroundings, gradually losing a bit of independence with each move. Eventually she lives in Rome, the historic heart of continental Europe, and it is here that she endures her greatest hardship with Gilbert Osmond.

Narratively, James uses many of his most characteristic techniques in Portrait of a Lady. In addition to his polished, elegant prose and his sedate, slow pacing, he utilizes a favorite technique of skipping over some of the novel's main events in telling the story. Instead of narrating moments such as Isabel's wedding with Osmond, James skips over them, relating that they have happened only after the fact, in peripheral conversations. This literary technique is known as ellipses. In the novel, James most often uses his elliptical technique in scenes when Isabel chooses to value social custom over her independence—her acceptance of Gilbert's proposal, their wedding, her decision to return to Rome after briefly leaving for Ralph's funeral at the end of the novel. James uses this method to create the sense that, in these moments, Isabel is no longer accessible to the reader; in a sense, by choosing to be with Gilbert Osmond, Isabel is lost.

[moon2]

وهذه بعض الأسئله والإجابه عليها

شوفو ياحلوات اهم شيء في الروايه انك تقرأيها كلهااااااا

وتفهميها اول شيء

وبعد كذا تبدأين بالقراءه عنها وتلخيص الأشياء المهمه

انا افضل انكم تكتبو التلخيص كتابه

ويكون منسق وكامل

علشان اذا جاء وقت الاختبارات يكون كل شيء جاااهز

اعملي تلخيص لــ
Plot
characters

وكمان للأشياء المهمه اللي تتحدث عنها الاستاذه

وصدقوني اذا عملتو كل شيء اول بأول راح تفلحوون

بإذن الله

ياحلواات كل وحده فيكم عندها معلومه او سؤال طلبته الاستاذه ياليت تكتبه هنا

واحنا كلنا راح نتساعد في انه نبحث عن الاجابه

وياليت تكتبو كل شيء اول بأول



Study Questions and Essay Topics
Describe the elliptical technique James often uses in his narration. What is a narrative ellipsis? How does James employ the technique? What effect does his frequent skipping forward have on the novel as a whole?


Answer for Study Question 1 >>
For many of the novel's most important scenes, James utilizes an elliptical technique, which means literally that he simply does not narrate them. Instead, many of the most crucial moments of the novel are skipped over, and the reader is left to infer that they have occurred based on later evidence and their mention in peripheral conversation. Moments which are eluded from the novel include Osmond's proposal to Isabel, their wedding, and Isabel's decision to return to Rome after traveling to England for Ralph's funeral. In this way, James tends to skip over the moments in which Isabel chooses to sacrifice her freedom for Gilbert Osmond; this helps to create the sense that Osmond is a sinister figure, as though, in choosing to be with him, Isabel is placing herself beyond the reach of the reader.

Close


Portrait of a Lady, as its title would suggest, is largely devoted to the character of Isabel Archer. How does James use his psychological portrayal of Isabel to justify her decision to surrender her treasured independence in order to marry Osmond?


Answer for Study Question 2 >>
James's use of psychology in Portrait of a Lady enables him to unite his thematic exploration with his character portrayal. In short, the novel is an exploration of the conflict between individualism and social convention; James ensures that Isabel has a conscious commitment to individualism, but an unconscious desire for the comfort, safety, and stability of social custom. Isabel's upbringing was haphazard, and her father often left her to herself; this gave her a sense of intellectual independence, but it also made her long for a more secure environment. Additionally, Isabel's active imagination was nourished by her self-directed education in her grandmother's library. When she meets Gilbert Osmond, Isabel is attracted to the stability and direction his life seems to offer her, and her imagination enables her to overlook his obvious flaws—his arrogance, his narcissism, and his cruelty—and to create her own idyllic picture of him. In this way, Isabel allows her need for social convention to overcome her commitment to independence, and her marriage to Osmond becomes the tragic turning point in her life.

Close


"The Portrait of a Lady is consistently focused on the idea of Isabel Archer's independence: whether she has it, whether she is true to it, whether she betrays it, and whether it is more important than her social duty. But the novel never really defines what "independence" means, and as a result, it lacks thematic focus." Do you agree or disagree with this statement? Defend your answer.


Answer for Study Question 3 >>
The answer you choose will largely depend on how you felt about the novel's thematic focus and its presentation of the idea of independence. A "yes" answer should focus on the fuzziness of Isabel's thinking about her own independence, especially about the lack of direction she seems to experience and her confusion about how to treat her own autonomy. (After rejecting Warburton, for instance, Isabel decides to do something remarkable with her life, but she never decides what it will be, and instead simply goes on a vacation with Mrs. Touchett and Madame Merle.) A "no" answer should try to extract a definition of the idea of "independence" from the novel, focusing on Isabel's desire to make her own decisions, her insistence on having room and time for her intellectual growth. A "no" answer might also locate the book's definition of independence in its portrayal of America, contrasting the individualistic spirit of America with the corrupt, socially rigid spirit of Europe.

Close


Compare and contrast Isabel's three suitors, Gilbert Osmond, Caspar Goodwood, and Lord Warburton. How are they alike? What are their important differences? What ideas do they each symbolize? How does Isabel respond to each of them, and why does she respond to them as she does? What light do they cast on Isabel's relation to the idea of romance?



With particular attention to the characters of Henrietta Stackpole and Mrs. Touchett, what does the novel's position seem to be with regard to feminism? Is Portrait of a Lady a feminist book in any way or ultimately a conservative novel?



Describe the character of Madame Merle. What role does she play in the novel? Where does she seem to fit on the spectrum between personal independence and social conformity? Is she ultimately a villain, or does she have qualities that enable the reader to sympathize with her behavior?



Discuss James's use of geography as an object of symbolism in the novel. How do particular places take on thematic qualities? What symbolic trajectory does James chart by having Isabel travel from Albany to London to Florence to Rome?

[moon2]

ملخص وتحليل للفصول


من فصل واحد الى ثلاثه

Summary
It is teatime at Gardencourt, an old English country manor built during the reign of Edward VI and now owned by an old American banker. The old man now sits on the lawn holding a large teacup; his sickly son and a young Englishman stroll nearby, stopping occasionally to make sure that he is comfortable. The old man tells them lightly that he has always been comfortable. The young Englishman, Lord Warburton, drolly replies that comfort is boring. The old man's son, Ralph, counters by saying that Lord Warburton only pretends to be bored by everything. Lord Warburton replies that the old man's son always seems cynical, but that he is really a fairly cheerful person. The old man says that Warburton would find life more interesting if he found himself an interesting woman to marry; the young men politely keep quiet about the fact that the old man's own marriage is unhappy. Lord Warburton wonders what sort of woman he might find "interesting."

The old man says that his wife, Mrs. Touchett, will soon be returning from her visit to America and that she plans to bring their niece with her for a stay in England. He jokingly tells Warburton not to fall in love with his niece. Mr. Touchett and Ralph joke about the ******** they received from Mrs. Touchett informing them of her intention to bring this niece back to England with her. The ******** is nearly incomprehensible ("sister's girl, died last year, go to Europe"), but it mentions that the girl is "quite independent." Mr. Touchett says that American girls today are all engaged but that they continue to behave however they like regardless. He jokes again that Warburton must not fall in love with his niece.

Ralph strolls away from his father and Lord Warburton. He hears his dog barking near the door of the house and sees that a young woman has just emerged; she picks up the eager little dog, and Ralph notices that she is beautiful. He approaches her, and she introduces herself as his cousin Isabel, saying that she has just arrived with his mother. She compliments the house, and when Ralph points out his father and Lord Warburton on the lawn, she happily declares that having a real lord about the place makes it seem just like a novel.

Ralph introduces this strange young girl to his father, who kisses her and asks where his wife has gone. Isabel says that Mrs. Touchett has retired to her room; Mr. Touchett observes wryly that they will not see her for a week. But Isabel predicts that she will make an appearance at dinner. Looking about her, Isabel says that the old manor is the most beautiful thing that she has ever seen. Lord Warburton offers to show her his own Tudor manor, and he and Mr. Touchett joke with one another about who has the better house. Ralph asks Isabel if she likes dogs and offers to give her his own dog. She agrees to keep it while she is at the house. Ralph asks how long she will stay, and she says that Mrs. Touchett will have to decide that, as they are to travel to Florence after leaving England. Ralph notes that Isabel does not seem like the kind of woman who lets people decide things for her. Isabel agrees that she is very independent. He asks why they have never met, and she says that after her mother died, her father had a quarrel with Mrs. Touchett. Mr. Touchett asks Isabel how his wife is—she has been traveling in America for a long time. Isabel begins to tell him, and Warburton says quietly to Ralph that he has found his idea of a very interesting woman, and it is Isabel.

Mrs. Touchett has been traveling in America for a year, and has only stopped in England on her way home to Florence—she has been separated from Mr. Touchett since the first year of their marriage, though she spends one month with him each year. When Mrs. Touchett went to visit Isabel, she found her reading in the library of her grandmother's house, which she had been given unrestricted access to as a young girl and which formed the basis of her education. Mrs. Touchett invited Isabel to come to Florence, and Isabel agreed, though she warned her aunt that she was not always obedient.

Analysis
The opening sentence of Portrait of a Lady may not be the most exciting in all of literature ("Under certain circumstances there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea"), but the novel's opening perfectly prepares the reader for the development of the novel's main themes.

The main theme of Portrait of a Lady is the conflict between individualism (represented here by Isabel Archer's "independence") and social custom. The novel begins with the ultimate social custom, the English tea ceremony, set amid a genteel landscape populated by good-natured, affectionate members of the high upper classes. This well-ordered and familiar scene, which has obviously been acted out by the three men involved a hundred times before, is then disturbed by the appearance of Isabel, who arrives amid a chaos of barking dogs and ruffled expectations. At once, Isabel is at odds with the calm traditions of social convention, and the novel's thematic exploration is off to a strong start.

To say that Isabel's individualism is at odds with social convention is not to say that she is at odds with the conventional people around her; on the contrary, all of the men on the lawn seem very taken with her, especially Ralph, who impulsively gives her his dog, and Lord Warburton, who declares that she is his idea of an "interesting woman." It is important to note that we do not learn a great deal about Isabel herself in this section, virtually nothing of her past, and very little of her personality beyond what we see through the eyes of the other characters. All we are told is that she is an "independent woman," a very vague de************************ion that nevertheless piques the interest of Lord Warburton and the Touchetts—in the late 1860s in upper-class English country houses, we can infer, independent women of any sort are in very short supply.

Throughout Portrait of a Lady, James will alternate between showing us Isabel's life from Isabel's perspective and showing it through the perspective of peripheral characters such as Ralph. The use of peripheral points of view casts a great deal of light on Isabel's actions—here, for instance, James uses Ralph's perspective to show us what kind of impression Isabel makes on those around her, giving us the sense that she is different and special, a sense that would have been difficult to impart had we viewed the same scene through Isabel's eyes.

It is also important to note that Portrait of a Lady is set almost entirely among a group of Americans who live in Europe, and the novel's most significant secondary theme is the contrast between the idea of Europe and the idea of America, and how those ideas are negotiated in the minds of the expatriated Americans. In a very general sense, James uses the idea of America to represent innocence, individualism, optimism, and action, while Europe tends to represent sophistication, social convention, decadence, and tradition.

In these early chapters, we are given very little sense of those distinctions; here, Europe is simply a familiar home to the American Touchetts, and an exciting place to visit for Isabel Archer. But as the novel progresses, and Isabel travels deeper into continental Europe, the contrasts will be made very clear, and Gardencourt will emerge as a kind of ideal combining the best of Europe with the best of America

[moon2]

اذا حابين اكمل خبروني

[Wabel]

مرحبا بنات... انا رابعه انتساب و محتاجه اعرف ايش المواد إللي علينا السنه هذي

و إذا ما فيها تعب عليكم تعطوني اسماء الكتب.

حالياً انا برا الشرقيه ولا اقدر اجي بسهوله للكليه.

تحياتي..

[mesho ~]

moon 2

يعطيك العااافيه ياقلبي ماقصرتي كملي

جزاك لله الف خير كملي ياقلبوو :119: ..

[mesho ~]

wabel

go to the first page .

[Wabel]

Mesho

I saw that before but what about the other subjects?! Arabic, Islamic and what else do we have in fourth year?!

Thank you! :-)

[moon2]

راح اكمل بإذن الله قريبا


وعيدكم مباااارك مقدما

[mesho ~]

وابل

العربي نزلت ملزمه .

والمادة الاسلاميه >> كتاب حاضر العالم الاسلامي .

civilisation << no book

prose >> portrait of a lady

Drama << the master builder

translation >> hndout

Esaay << handout

criticism << handout

[mesho ~]

poetry

those are the poems :


Rupert Brooke
1914 I: Peace


Now, God be thanked Who has watched us with His hour,
And caught our youth, and wakened us from sleeping,
With hand made sure, clear eye, and sharpened power,
To turn, as swimmers into cleanness leaping,
Glad from a world grown old and cold and weary,
Leave the sick hearts that honour could not move,
And half-men, and their dirty songs and dreary,
And all the little emptiness of love!

Oh! we, who have known shame, we have found release there,
Where there's no ill, no grief, but sleep has mending,
Naught broken save this body, lost but breath;
Nothing to shake the laughing heart's long peace there
But only agony, and that has ending;
And the worst friend and enemy is but Death.


The Soldier
If I should die, think only this of me:
That there's some corner of a foreign field
That is for ever England. There shall be
In that rich earth a richer dust conceal'd;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam,
A body of England's, breathing English air.
Wash'd by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter, learnt of friends; and gentleness,
In hearts at peace, under an English heaven.

Sassoon, Siegfried


20. ‘They’

THE Bishop tells us: ‘When the boys come back
‘They will not be the same; for they’ll have fought
‘In a just cause: they lead the last attack
‘On Anti-Christ; their comrades’ blood has bought
‘New right to breed an honourable race, 5
‘They have challenged Death and dared him face to face.’

‘We’re none of us the same!’ the boys reply.
‘For George lost both his legs; and Bill’s stone blind;
‘Poor Jim’s shot through the lungs and like to die;
‘And Bert’s gone syphilitic: you’ll not find 10
‘A chap who’s served that hasn’t found some change.’
And the Bishop said: ‘The ways of God are strange!’



12. The General

‘GOOD-MORNING; good-morning!’ the General said
When we met him last week on our way to the line.
Now the soldiers he smiled at are most of ’em dead,
And we’re cursing his staff for incompetent swine.
‘He’s a cheery old card,’ grunted Harry to Jack 5
As they slogged up to Arras with rifle and pack.
. . . .
But he did for them both by his plan of attack.







2. Counter-Attack

WE’D gained our first objective hours before
While dawn broke like a face with blinking eyes,
Pallid, unshaved and thirsty, blind with smoke.
Things seemed all right at first. We held their line,
With bombers posted, Lewis guns well placed, 5
And clink of shovels deepening the shallow trench.
The place was rotten with dead; green clumsy legs
High-booted, sprawled and grovelled along the saps
And trunks, face downward, in the sucking mud,
Wallowed like trodden sand-bags loosely filled; 10
And naked sodden buttocks, mats of hair,
Bulged, clotted heads slept in the plastering slime.
And then the rain began,—the jolly old rain!

A yawning soldier knelt against the bank,
Staring across the morning blear with fog; 15
He wondered when the Allemands would get busy;
And then, of course, they started with five-nines
Traversing, sure as fate, and never a dud.
Mute in the clamour of ****************ls he watched them burst
Spouting dark earth and wire with gusts from hell, 20
While posturing giants dissolved in drifts of smoke.
He crouched and flinched, dizzy with galloping fear,
Sick for escape,—loathing the strangled horror
And butchered, frantic gestures of the dead.

An officer came blundering down the trench: 25
‘Stand-to and man the fire-step!’ On he went...
Gasping and bawling, ‘Fire-step ... counter-attack!’
Then the haze lifted. Bombing on the right
Down the old sap: machine-guns on the left;
And stumbling figures looming out in front. 30
‘O Christ, they’re coming at us!’ Bullets spat,
And he remembered his rifle ... rapid fire...
And started blazing wildly ... then a bang
Crumpled and spun him sideways, knocked him out
To grunt and wriggle: none heeded him; he choked 35
And fought the flapping veils of smothering gloom,
Lost in a blurred confusion of yells and groans...
Down, and down, and down, he sank and drowned,
Bleeding to death. The counter-attack had failed.



WILFRED OWEN

DULCE ET DECORUM EST1
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares2 we turned our backs
And towards our distant rest3 began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots4
Of tired, outstripped5 Five-Nines6 that dropped behind.
Gas!7 Gas! Quick, boys! – An ecstasy of fumbling,
Fitting the clumsy helmets8 just in time;
But someone still was yelling out and stumbling,
And flound'ring like a man in fire or lime9 . . .
Dim, through the misty panes10 and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering,11 choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud12
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest13
To children ardent14 for some desperate glory,
The old Lie; Dulce et Decorum est
Pro patria mori.15
8 October 1917 - March, 1918




ANTHEM1 FOR DOOMED YOUTH

What passing-bells2 for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out3 their hasty orisons.4
No mockeries5 now for them; no prayers nor bells;
Nor any voice of mourning save the choirs, –
The shrill, demented6 choirs of wailing ****************ls;
And bugles7 calling for them from sad shires.8
What candles9 may be held to speed them all?
Not in the hands of boys but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor10 of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk11 a drawing-down of blinds.12

September - October, 1917











William Butler Yeats

Easter, 1916

I HAVE met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn:
All changed, changed utterly:
A terrible beauty is born.

That woman's days were spent
In ignorant good-will,
Her nights in argument
Until her voice grew shrill.
What voice more sweet than hers
When, young and beautiful,
She rode to harriers?
This man had kept a school
And rode our winged horse;
This other his helper and friend
Was coming into his force;
He might have won fame in the end,
So sensitive his nature seemed,
So daring and sweet his thought.
This other man I had dreamed
A drunken, vainglorious lout.
He had done most bitter wrong
To some who are near my heart,
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.

Hearts with one purpose alone
Through summer and winter seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road.
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
A shadow of cloud on the stream
Changes minute by minute;
A horse-hoof slides on the brim,
And a horse plashes within it;
The long-legged moor-hens dive,
And hens to moor-cocks call;
Minute by minute they live:
The stone's in the midst of all.

Too long a sacrifice
Can make a stone of the heart.
O when may it suffice?
That is Heaven's part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in a verse -
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.

Sailing to Byzantium

THAT is no country for old men. The young
In one another's arms, birds in the trees
- Those dying generations - at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.



The Second Coming
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?





A Prayer for my Daughter


Once more the storm is howling, and half hid
Under this cradle-hood and coverlid
My child sleeps on. There is no obstacle
But Gregory's wood and one bare hill
Whereby the haystack- and roof-levelling wind,
Bred on the Atlantic, can be stayed;
And for an hour I have walked and prayed
Because of the great gloom that is in my mind.

I have walked and prayed for this young child an hour
And heard the sea-wind scream upon the tower,
And under the arches of the bridge, and scream
In the elms above the flooded stream;
Imagining in excited reverie
That the future years had come,
Dancing to a frenzied drum,
Out of the murderous innocence of the sea.

May she be granted beauty and yet not
Beauty to make a stranger's eye distraught,
Or hers before a looking-glass, for such,
Being made beautiful overmuch,
Consider beauty a sufficient end,
Lose natural kindness and maybe
The heart-revealing intimacy
That chooses right, and never find a friend.

Helen being chosen found life flat and dull
And later had much trouble from a fool,
While that great Queen, that rose out of the spray,
Being fatherless could have her way
Yet chose a bandy-leggd smith for man.
It's certain that fine women eat
A crazy salad with their meat
Whereby the Horn of Plenty is undone.

In courtesy I'd have her chiefly learned;
Hearts are not had as a gift but hearts are earned
By those that are not entirely beautiful;
Yet many, that have played the fool
For beauty's very self, has charm made wise,
And many a poor man that has roved,
Loved and thought himself beloved,
From a glad kindness cannot take his eyes.

May she become a flourishing hidden tree
That all her thoughts may like the linnet be,
And have no business but dispensing round
Their magnanimities of sound,
Nor but in merriment begin a chase,
Nor but in merriment a quarrel.
O may she live like some green laurel
Rooted in one dear perpetual place.

My mind, because the minds that I have loved,
The sort of beauty that I have approved,
Prosper but little, has dried up of late,
Yet knows that to be choked with hate
May well be of all evil chances chief.
If there's no hatred in a mind
Assault and battery of the wind
Can never tear the linnet from the leaf.

An intellectual hatred is the worst,
So let her think opinions are accursed.
Have I not seen the loveliest woman born
Out of the mouth of Plenty's horn,
Because of her opinionated mind
Barter that horn and every good
By quiet natures understood
For an old bellows full of angry wind?

Considering that, all hatred driven hence,
The soul recovers radical innocence
And learns at last that it is self-delighting,
Self-appeasing, self-affrighting,
And that its own sweet will is Heaven's will;
She can, though every face should scowl
And every windy quarter howl
Or every bellows burst, be happy still.

And may her bridegroom bring her to a house
Where all's accustomed, ceremonious;
For arrogance and hatred are the wares
Peddled in the thoroughfares.
How but in custom and in ceremony
Are innocence and beauty born?
Ceremony's a name for the rich horn,
And custom for the spreading laurel tree.

June 1919






American poetry
Walt Whitman (1819–1892).
A Noiseless Patient Spider

A NOISELESS, patient spider,
I mark’d, where, on a little promontory, it stood, isolated;
Mark’d how, to explore the vacant, vast surrounding,
It launch’d forth filament, filament, filament, out of itself;
Ever unreeling them—ever tirelessly speeding them. 5

And you, O my Soul, where you stand,
Surrounded, surrounded, in measureless oceans of space,
Ceaselessly musing, venturing, throwing,—seeking the spheres, to connect them;
Till the bridge you will need, be form’d—till the ductile anchor hold;
Till the gossamer thread you fling, catch somewhere, O my Soul. 10











Wallace Stevens
Anecdote of the Jar
I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.
The wilderness rose up to it,
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.
It took dominion every where.
The jar was gray and bare.
It did not give of bird or bush,
Like nothing else in Tennessee.

The Snow Man

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;
And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter
Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,
Which is the sound of the land
Full of the same wind
That is blowing in the same bare place
For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

Emily Dickinson
I heard a fly buzz when I died

I heard a fly buzz when I died;

The stillness round my form

Was like the stillness in the air

Between the heaves of storm.



The eyes beside had wrung them dry,

And breaths were gathering sure

For that last onset, when the king

Be witnessed in his power.



I willed my keepsakes, signed away

What portion of me I

Could make assignable,--and then

There interposed a fly,


With blue, uncertain, stumbling buzz,

Between the light and me;

And then the windows failed, and then

I could not see to see.


Because I could not stop for Death

Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,
And I had put away
My labor, and my leisure too,
For his civility.
We passed the school, where children strove
At recess, in the ring;
We passed the fields of gazing grain,
We passed the setting sun.
Or rather, he passed us;
The dews grew quivering and chill,
For only gossamer my gown,
My tippet only tulle.
We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.
Since then 'tis centuries, and yet each
Feels shorter than the day
I first surmised the horses' heads
Were toward eternity.

[mesho ~]

Exam questions for criticism

1- What are the main characteristics of the Aesthetic movement ?

2- Explain the implications of Mathew Arnold's definition of
criticism ?

3- in "The Critic as Artist" Oscar Wilde reinterpreted Plato and
Aristotle in the image of his aestheticism . Discuss the statement in
the light of your study?

[مريم123]

بناااات انا سنه تحضيري
بغيت بارجراف عن اجازة العيد الاضحى
حق بكررره ضروري ردوو علي

[Wabel]

Thanks a lot Mesho

But let me get this straight

we have civilization, prose, drama, translation, essay, criticism, poetry, islamic and arabic

Did I miss any subject?!

[mesho ~]

ya there is also

linguistics >>> The study of language

...

[mesho ~]

mariam sorry i can't help you ..

[كيلو تناحة]

wabel
you missed another subject




it
is
the history of language!!!!!
we have 11 subjects
may Allah help us

[moon2]

the main points that you have to study in prose

the first novel

The portrait of a lady

you have to make essyes about

Independence- conflict between individualism and social convention-

The elliptical technique that James use throughout the novel

Psychological realism

The character of Madame Merle- Where does she seem to fit on the spectrum between personal independence and social convention


James's idea about feminism representing with Henrietta and Mre.Touchett

Compare and contrast Isabel's three suiters,Osmond ,Goodwood , Warburton. What ideas do they each symbolize, What light do they cast on Isabel's relation to the idea of romance


The clash between American cultuer and British culture-James's use of geography -


Ralph's character

The mestery of the relationship between Madame Merle and Osmond throughout the novel

ولا تنسو الكتابه عن الأحداث المهمه مثل اول لقاء بين ايزابيل و مدام ميرل

وايضا لا تنسون علاقة ايزابيل مع رالف


وبعد يومين بإذن الله راح انزل عن الرواية الثانيه

Mrs.Dalloway

ادعو لي بنات واي اضافه للروايه الأولى اضيفوها وخلونا نستفيد

[moon2]

حبيت اقولكم اذا حابين تستفيدون وتكون الوايه عليكم سهله اقرأوها ولو بالعربي

وصدقوني اذا جئتو للمذاكره راح تكون كويسه


انصحكم بموقع سبارك نوتس من جد راااائع

www.sparknotes.com

بليز ادعولي انجح انا وصديقتي قوولو امين



Meshoo
يسلمووو ماقصرتي

بليز اكتبي اسئلة كل اختبار

تعرفين بنات الانتساب محتاجين انهم يستفيدووو

وانا واحده منهم


الله يعاااافيك تسلمين

[moon2]

sorry I have forgot somthing in The Portrait of a Lady

you have to write about The modern literature - the 20th century literature

[moon2]

ميشووو سؤال


بالنسبه للمقال هل يحتاج مذااااكره

او مثل السنه اللي فاتت تجيب لنا موضوع ونكتب عنه من انفسنا

وبالنسبه للترجمه كيف انطباعك عنها سهله والا صعبه


ايش اصعب ماده تدرسونها واللي تحتاج تركيز؟


بالنسبه للشعر ايش تركز عليه بالضبط ؟

والعربي وحاضر العالم الاسلامي هل هو خيارات وصح وخطأ في النهائي والا مقالي؟

ارجو الاجابه لأني لم احضر للكليه
انا بعيده عن الدماااام بأربع ساعات

[moon2]

Mrs.Dalloway

Plot Overview

M rs. Dalloway covers one day from morning to night in one woman’s life. Clarissa Dalloway, an upper-class housewife, walks through her London neighborhood to prepare for the party she will host that evening. When she returns from flower shopping, an old suitor and friend, Peter Walsh, drops by her house unexpectedly. The two have always judged each other harshly, and their meeting in the present intertwines with their thoughts of the past. Years earlier, Clarissa refused Peter’s marriage proposal, and Peter has never quite gotten over it. Peter asks Clarissa if she is happy with her husband, Richard, but before she can answer, her daughter, Elizabeth, enters the room. Peter leaves and goes to Regent’s Park. He thinks about Clarissa’s refusal, which still obsesses him.

The point of view then shifts to Septimus, a veteran of World War I who was injured in trench warfare and now suffers from ****************l shock. Septimus and his Italian wife, Lucrezia, pass time in Regent’s Park. They are waiting for Septimus’s appointment with Sir William Bradshaw, a celebrated psychiatrist. Before the war, Septimus was a budding young poet and lover of Shakespeare; when the war broke out, he enlisted immediately for romantic patriotic reasons. He became numb to the horrors of war and its aftermath: when his friend Evans died, he felt little sadness. Now Septimus sees nothing of worth in the England he fought for, and he has lost the desire to preserve either his society or himself. Suicidal, he believes his lack of feeling is a crime. Clearly Septimus’s experiences in the war have permanently scarred him, and he has serious mental problems. However, Sir William does not listen to what Septimus says and diagnoses “a lack of proportion.” Sir William plans to separate Septimus from Lucrezia and send him to a mental institution in the country.
Richard Dalloway eats lunch with Hugh Whitbread and Lady Bruton, members of high society. The men help Lady Bruton write a letter to the Times, London's largest newspaper. After lunch, Richard returns home to Clarissa with a large bunch of roses. He intends to tell her that he loves her but finds that he cannot, because it has been so long since he last said it. Clarissa considers the void that exists between people, even between husband and wife. Even though she values the privacy she is able to maintain in her marriage, considering it vital to the success of the relationship, at the same time she finds slightly disturbing the fact that Richard doesn’t know everything about her. Clarissa sees off Elizabeth and her history teacher, Miss Kilman, who are going shopping. The two older women despise one another passionately, each believing the other to be an oppressive force over Elizabeth. Meanwhile, Septimus and Lucrezia are in their apartment, enjoying a moment of happiness together before the men come to take Septimus to the asylum. One of Septimus’s doctors, Dr. Holmes, arrives, and Septimus fears the doctor will destroy his soul. In order to avoid this fate, he jumps from a window to his death.
Peter hears the ambulance go by to pick up Septimus’s body and marvels ironically at the level of London’s civilization. He goes to Clarissa’s party, where most of the novel’s major characters are assembled. Clarissa works hard to make her party a success but feels dissatisfied by her own role and acutely conscious of Peter’s critical eye. All the partygoers, but especially Peter and Sally Seton, have, to some degree, failed to accomplish the dreams of their youth. Though the social order is undoubtedly changing, Elizabeth and the members of her generation will probably repeat the errors of Clarissa’s generation. Sir William Bradshaw arrives late, and his wife explains that one of his patients, the young veteran (Septimus), has committed suicide. Clarissa retreats to the privacy of a small room to consider Septimus’s death. She understands that he was overwhelmed by life and that men like Sir William make life intolerable. She identifies with Septimus, admiring him for having taken the plunge and for not compromising his soul. She feels, with her comfortable position as a society hostess, responsible for his death. The party nears its close as guests begin to leave. Clarissa enters the room, and her presence fills Peter with a great excitement.
Part 1: From the opening scene, in which Clarissa sets out to buy flowers, to her return home. Early morning–11:00 a.m.
For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh; but the veriest frumps, the most dejected of miseries sitting on doorsteps (drink their downfall) do the same; can’t be dealt with, she felt positive, by Acts of Parliament for that very reason: they love life

Analysis
Woolf wrote much of Mrs. Dalloway in free indirect discourse. We are generally immersed in the subjective mental world of various characters, although the book is written in the third person, referring to characters by proper names, as well as the pronouns he, she, and they. Woolf seldom uses quotation marks to indicate dialogue, as in most of Clarissa’s encounter with Hugh Whitbread, to ensure that the divide between characters’ interior and exterior selves remains fluid. In this way, Woolf allows us to evaluate characters from both external and internal perspectives: We follow them as they move physically through the world, all the while listening to their most private thoughts. The subjective nature of the narrative demonstrates the unreliability of memory. In this section, Clarissa, Septimus, and other characters interpret and reinterpret themselves and others constantly—changing their minds, misremembering, contradicting previous statements. Even simple facts, such as somebody’s age, are occasionally vague, since people’s memories are different and sometimes wrong.
Clarissa gains ****************ure and depth as her thoughts dip frequently into the past and begin to edge around the future and her own mortality. Clarissa is full of happy thoughts as she sets off to buy flowers that beautiful June morning, but her rapture reminds her of a similar June morning thirty years earlier, when she stood at the window at Bourton and felt something awful might happen. Tragedy is never far from her thoughts, and from the first page of the book Clarissa has a sense of impending tragedy. Indeed, one of the central dilemmas Clarissa will face is her own mortality. Even as Clarissa rejoices in life, she struggles to deal with aging and death. She reads two lines about death from an open book in a shop window: “Fear no more the heat o’ the sun / Nor the furious winter’s rages.” The words are from one of Shakespeare’s later plays, Cymbeline, which is experimental and hard to classify, since it has comic, romantic, and tragic elements, much like Mrs. Dalloway. The lines are from a funeral song that suggests death is a comfort after life’s hard struggles. Both Clarissa and Septimus repeat these lines throughout the day.
Though Septimus shares many of Clarissa’s traits, he reacts differently to the passing car that thrills Clarissa and other bystanders. World War I has prompted changes in traditional English society, and many of London’s inhabitants are lost in this more modern, more industrial society. People in the street, including Clarissa, seek meaning in the passing car, whose grandeur leads them to suspect it may carry the queen or a high-ranking government official. They want desperately to believe that meaning still exists in tradition and in the figureheads of England. For Septimus, the car on the street in the warm June sun does not inspire patriotism but rather seems to create a scene about to burst into flame. He has lost faith in the symbols Clarissa and others still cling to. The car’s blinds are closed, and its passenger remains a mystery. Any meaning the crowd may impart on the car is their own invention—the symbol they want the car to be is hollow.
Woolf reveals mood and character through unusual and complex syntax. The rush and movement of London are reflected in galloping sentences that go on for line after line in a kind of ecstasy. These sentences also reflect Clarissa’s character, particularly her ability to enjoy life, since they forge ahead quickly and bravely, much as Clarissa does. As Clarissa sees the summer air moving the leaves like waves, sentences become rhythmic, full of dashes and semicolons that imitate the choppy movement of water. Parentheses abound, indicating thoughts within thoughts, sometimes related to the topic at hand and sometimes not. Simple phrases often appear in the flow of poetic language like exclamations, such as when young Maisie Johnson encounters the strange-seeming Smiths and wants to cry “Horror! horror!” This line echoes Joseph Conrad’s novel Heart of Darkness, in which a character despairs over humanity’s cruelty. Later in the novel, we learn that Clarissa herself said “Oh this horror!” when Peter Walsh and Joseph Breitkopf, an old family friend, interrupted her encounter with Sally on the terrace. Society closes in on both Septimus and Clarissa, and the effect, conveyed through language and sentence structure, is terrible.

Part 2: From Clarissa’s return from the shops through Peter Walsh’s visit. 11:00 a.m.–11:30 a.m.
She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day

Analysis
Middle-aged Clarissa struggles to find her role in a society that places great importance on fulfilling sexual stereotypes. Clarissa feels invisible, virginal, and nunlike now that she is over fifty and will not have any more children. She feels silly in her yellow-feathered hat in front of Hugh, because Hugh is handsome and well dressed, and in some ways Clarissa now feels as if she has no sexuality. Clarissa’s daughter, Elizabeth, is nearly grown, and now, with mothering behind her, Clarissa tries to discover her purpose in life, since women of her class and generation were not trained for careers. Clarissa feels her role is to be a meeting-point for others. She gathers people together, as she will at her party that night. No matter how uneasy she feels in her own life, she hides it so that others can feel comfortable. She sews the torn folds of her party dress back into place, masking both the flaws in the fabric and her own uneasiness. She even gathers herself together by pursing her lips and making her face into “one diamond.” She feels it is her job to be a refuge for others and to conceal the strain and artificiality of gathering diverse parts of life together.

The difficulty of reconciling her innermost self with her exterior or surface self weighs constantly on Clarissa’s mind, and the doors and windows that appear throughout the book represent this conflict symbolically. At Clarissa’s house, workers take the doors off the hinges for the party, where Clarissa will gather people together and try to facilitate communication. She remembers that the blinds used to flap at Bourton, during a time when her need for privacy and her desire for communication were both, to some degree, attainable. Peter himself, in some ways, serves as a doorway between Clarissa’s two selves. Through him, Clarissa can return to the days at Bourton and evaluate her choices, as though she can go back in time and change her mind. When Peter runs from the room and leaves her house, the noise from the open door is overwhelming and makes Clarissa’s voice almost disappear. In his absence, real life, the present, sets in again. In real life, Clarissa is torn between the need for solitude and the glimmering surface world of society, and trying to move between the two states of being is almost a physical effort, much like physically removing doors from hinges.
Characters continually interrupt one another’s significant moments of communication. Peter interrupts Clarissa’s revelatory moment with Sally at Bourton, intervening before the women’s intimacy can continue or intensify. Elizabeth interrupts Peter’s encounter with Clarissa, another interruption that thwarts intimacy, stopping them from delving too deeply into their private feelings. Clarissa and Peter are both critical judges of others’ characters, and they meet like challengers, Peter with his knife in his hand and Clarissa with her scissors. They are conscious of one another’s failures—and of their own. This moment with Peter is charged with the potential to set Clarissa’s life on a new course, whether Peter reveals lingering feelings or simply raises doubts in Clarissa’s mind. For better or worse, Elizabeth halts the communication of their interior selves with her entry. Time moves on, and Peter walks out. Clarissa struggles to maintain communication and reminds him about her party, but her voice nearly disappears in the rush of the opening and closing door.
Clarissa is aware of having compromised by marrying Richard, who offered her a traditional, safe life path that is less threatening than the passion-filled path Peter or even Sally could have offered her. Though she enjoys beautiful things and society and appreciates the privacy she has with Richard, she is dissatisfied in some ways and worries that she fails to satisfy him as well. Richard, unlike more passionate characters, such as Sally and Septimus, has no association with nature, which underscores his pedestrian personality. Clarissa has found safety and comfort with Richard, a simple upholder of English tradition, but she felt passionate love for Sally, who subverted that tradition in many ways. Sally sold a family heirloom to go to Bourton, held feminist views, and shocked the upholders of old England, such as Aunt Helena. Clarissa describes her feeling for Sally as a match that burns in a crocus, a type of flower. The natural imagery of heat and flames often marks the thoughts of characters who feel deeply, including Clarissa and Septimus. The fire is spectacular, but never without threat. Richard is the foundation of her life, Clarissa admits, but part of her wonders what life could have been like without him, danger and all.
The line Clarissa quotes from Othello not only foreshadows Septimus’s suicide but also points to the magnitude of Clarissa’s own youthful feelings for Sally. In the play, Othello fervently loves his wife, Desdemona, but eventually kills her out of mistaken jealousy. Tortured by regret, Othello then kills himself. Othello cannot trust his good fortune, and loses it. By likening herself to Othello and Sally to Desdemona, Clarissa suggests not only the depth of her feeling, but also that it was she who killed the possibility of love with Sally—and with that some part of herself.

Part 3: From Peter leaving Clarissa’s house through his memory of being rejected by Clarissa. 11:30 a.m.–11:45 a.m.
This late age of the world’s experience had bred in them all, all men and women, a well of tears. Tears and sorrows; courage and endurance; a perfectly upright and stoical bearing.
Analysis
Peter Walsh is insecure and unsure about who he is, and these weaknesses in his character complicate his interactions with the world. Though likeable and fun to be around, Peter is highly critical of himself and others. He rarely voices these criticisms, but they echo constantly in his mind. The passage of time and the prospect of death frighten him, since he feels he has not accomplished anything substantial. He even goes out of his way to find a seat in the park where people are unlikely to ask him the time, since the question makes him nervous. Peter enjoys the sight of military boys passing by, because they seem oblivious to the reality of death and remind him of his own youth, when anything seemed possible. He takes an ironic pride in the civilization of London, with its butlers and chow dogs. He criticizes shallowness in others, particularly in Clarissa, but cannot help being attracted to a country that enjoys its excesses at the expense of colonies like India. England is broken, as Septimus’s narrative makes clear, and any appearance of civilization does not go below the surface.
Peter frequently invents life to satisfy his own needs and desires and to make sense of the world. If we are bombarded with impressions, or atoms, as Woolf suggested, then a love of life involves giving shape to the multitude of impressions. Peter takes this idea of constructing reality to a new level when he follows the anonymous young woman in the street. Through this imaginary escapade, he successfully forgets about his own aging and temporarily escapes from his reality. In the constant motion of an urban setting like London, actual meaningful encounters with people are rare, and Peter invents both his interaction with this woman and its meaning. Peter later sees the Smiths. Even though he observes that they are in some kind of trouble, he does not talk to them. He prefers to exercise his control over a fantasy he knows will not be realized.
Peter wants to be saved, and he seeks redemption through relationships with women. He believes that women can offer him solace, much as religion comforts others, such as Miss Kilman. Immature even in his mid-fifties, he feels he has suffered a great deal and that his nature is particularly sensitive. Clarissa sensed Peter’s huge, draining neediness in her youth, when she refused his marriage proposal. In the present, she wonders if life with Peter might have been more exciting than life with Richard, but at the same time she knows that Peter is too obsessed with himself to have been a good partner. In his dream Peter stereotypes women, imagining mother figures as well as cruel and beautiful temptresses. Peter is deluded in his wish to be saved by a female figure, and the traveler in the dream eventually realizes he has nobody to express his need to—there is no one for him to share his difficulties with. In the modern world, no God or woman or any figure at all exists to save him in the way he wishes to be saved.
Peter continues to seek Clarissa’s approval and attention thirty years after she turned down his marriage proposal. Clarissa is the first person Peter goes to see upon his arrival in London, and he spends his entire day thinking about her and telling himself that he is no longer in love with her. He reminds himself that he no longer loves her so frequently that we seriously doubt the truth of his conviction. Clarissa has had as profound an effect on his life as he has had on hers. He still sees much of the world through her eyes, just as his criticisms still affect Clarissa’s thoughts. Even his lover, Daisy, and her two children seem to improve when he observes them through Clarissa’s gaze. Though outwardly self-assured, Peter is inwardly full of self-doubt and still needs Clarissa to bolster him up after all these years.

Part 4: From little Elise Mitchell running into Rezia’s legs to the Smiths’ arrival on Harley Street. 11:45 a.m.–12:00 p.m.
Clarissa had a theory in those days . . . that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places after death . . . perhaps—perhaps
Analysis
Despite the disconnect between people in a modern urban setting like London, in this section we can see clearly the connection between Peter and Rezia. Woolf believed a complex web existed behind the “cotton wool” of the everyday, and this web allows her to make natural transitions between characters’ points of view. Often a memory or a visual image links characters, and in this section several major links appear. One is the child Peter watches as it runs into Rezia’s legs; another is the feeling of pity that an old woman singing in the street inspires in both Peter and Rezia. Parallels between Peter and Rezia allow us to compare as well as link them. Peter thinks of his rejection by Clarissa and cries that it was “awful, awful!” Several moments later, Rezia refers to Septimus’s mental illness with precisely the same expression. Peter’s self-pity at being spurned in love seems self-indulgent compared to the difficulties the Smiths must endure.
The old woman singing an ancient song is an affirming life force for Rezia. At first the woman seems sexless, and the song makes little sense. Both her physicality and her song become clearer under close observation. Though she is ancient, her song seems as though it will continue indefinitely, as will the love and death she sings of. Peter does not sense the joyfulness of this figure and feels only pity. Rezia, however, after her initial pity, draws strength from the woman and her words, “and if some one should see, what matter they?” Rezia is always very conscious of others’ watchful eyes, such as those belonging to her neighbor Mrs. Filmer, but the song gives her renewed hope and faith in life. Rezia feels that outside observers keep her and Septimus continually under their judging gaze, and when she listens to the old woman she is able to step outside the judging gaze, if only for a moment.
Members of the upper class, such as Peter, Hugh, and Mr. Brewer, often turn a blind eye to the suffering of others. Though Peter criticizes Clarissa’s worldliness, he is no better. He loves artifice and surfaces as much as anybody, admiring women’s makeup and a military parade. When he passes by the distressed Smiths in the park, he knows Clarissa would likely have stopped to talk with them to find out what was wrong. Though Clarissa does not run bazaars or take an organized interest in the plight of the poor, she might have spoken to them because of her interest in the world, an interest that keeps her from becoming callow. Hugh Whitbread, on the other hand, never looks beyond the socks displayed in a department store window, and Septimus’s boss, Mr. Brewer, resents the war mainly for what it did to his geranium beds. Though Clarissa is often as blind as anyone else, she is at least a close observer. She notices the world around her and wonders about the feelings of people beyond herself and her class.

Part 5: From Septimus’s appointment with Sir William Bradshaw to lunchtime at half-past one. 12:00 p.m.–1:30 p.m.
Analysis
The link between Clarissa and Septimus intensifies with their respective actions at noon, a moment in which one character is very nearly the opposite of the other. Clarissa puts down her party dress, which is part of the front she puts on for society. Septimus, at the same time, is exposed to society as he enters Sir William Bradshaw’s office for his appointment. Septimus sees doctors as the embodiment of human nature, which he saw at its ugliest during the war. Both Dr. Holmes and Sir William are older men who probably did not see any of the war firsthand, but they—and others—believe themselves to be experts on Septimus’s condition. Clarissa, by mending and preparing the dress, will be able to navigate social situations smoothly. Septimus does not have, and does not want, Clarissa’s charm and ability, and he is at the doctors’ mercy.

Science has become a new religion of sorts and Sir William is referred to as a “priest of science,” indicating the power he has over his patients. Just as religious believers often try to convert nonbelievers, Sir William seeks to convert the mentally ill to his sense of proportion. He preys on people like a vampire, sucking their souls out until they are his obedient followers. His wife, Lady Bradshaw, was one of his victims. Lady Bradshaw’s hobby, taking pictures of decaying churches, represents the twentieth-century transition from faith in religion or God to faith in science or technology. When the ill consider that no god exists, they begin to wonder if their life and death are perhaps in their own hands, but Sir William insists that his style of life is in fact the only choice. Patients must convert to the world as Sir William conceives it or else be considered insane. This bullying technique suffocates patients like Septimus, who saw the horrifying results of blind conformity during the war.
The question of what the war was fought to preserve is never far from Septimus’s thoughts, and he suffers from the lingering uncertainty. Peter Walsh and Clarissa might see English tradition as noble and worth fighting for, but Septimus, the veteran, does not read meaning in the symbols of England, at least not conventional meaning. The grand car at the opening of the novel does not give him shivers of excitement, the way it does for the other spectators, but seems only to point to his guilt for not being able to feel. Septimus no longer knows what the war was for. This doubt suggests that the very foundation of English society, an oppressive class system benefiting only a small margin of society, is problematic. Sir William, however, is uninterested in discussing Septimus’s loss of faith in England and believes individuality is a sign of mental illness. He wants patients to convert, conform, and forget about themselves and any doubts they may have about the war or the empire.
In Mrs. Dalloway, Septimus, Clarissa, Peter, and Sally are all readers, while Sir William, Hugh Whitbread, Richard Dalloway, and Lady Bruton are all nonreaders. Whether a character reads or does not read is a fairly reliable indication of their values and priorities, and tensions often rise between the two groups. For example, Sir William, a nonreader, is hostile to those who do read, like Septimus. Sir William finds Septimus’s bookishness nearly as repulsive as his shabby wardrobe. He sees a probing of the soul as a sign of illness, and later Clarissa, Peter, and Sally will share Septimus’s instinctive dislike for him. An interest in words also relates to an interest in the soul. Readers, particularly Clarissa and Septimus, who enjoy Shakespeare are deeper characters who probe surfaces and look beyond a thing’s given or expected meaning.

Part 6: From Hugh Whitbread examining socks and shoes in a shop window before lunching with Lady Bruton through Clarissa resting on the sofa after Richard has left for the House of Commons. 1:30 p.m.–3:00 p.m.
Analysis
Members of the upper class in Mrs. Dalloway, including Hugh Whitbread and Lady Bruton, are devoted to preserving their traditions and justify their supremacy by defending one another’s faults. Thus Hugh, a shallow glutton, is indulged and defended by Lady Bruton and Clarissa, among others. Likewise, money and a lordly demeanor ****************ter the psychiatrist Sir William from judgment. Lady Bruton would like to make the problems of the British Empire, such as unemployment, disappear by exporting them—and English families—to Canada. She has “lost her sense of proportion” in her Canada obsession, but she is exempt from the evil forces of Sir William, whereas Septimus is not, in part because she belongs to Sir William's class. The upper class lives in an insular and make-believe world that is declining, but they do not intend to acknowledge this decline. The Conservative Party is about to lose power and be replaced by the Labour Party, at which point Richard will retire and write a book about the great war-waging family of Lady Bruton. While Hugh might be preoccupied with society and Sir William with amassing power and money, they are forgiven their sins due to their social status. Miss Kilman in her ugly mackintosh and Septimus in his shabby coat will not be forgiven their sins, because they are not armored with money or status. Nobody will empower them or defend their faults.
Women of all classes have little power in Mrs. Dalloway. Lady Bruton, though she seems displaced in the feminine sphere and exhibits general-like qualities, becomes as helpless as a child when she faces writing a letter to the newspaper. Normally proud and serious, she shows ridiculous gratitude when Hugh arranges her thoughts in the manner accepted by the male establishment. When Richard sees a vagrant woman lying on the street, he sees not a figure rejoicing in her freedom, but rather a poor woman and a social problem that the government must deal with. Outside the repressive confines of society, the vagrant woman becomes a positive life force, like the old woman Peter and Rezia hear singing the ancient song. Richard, however, sees her only as a woman who needs his help, and he views Clarissa in somewhat the same way. Richard is a kind but simple thinker, and he finds reassurance in believing that women need him.
The luncheon at Lady Bruton’s effectively highlights the differences between the English establishment and Clarissa. Though Clarissa is a member of the upper class and can occasionally be a snob, she asks herself questions, judges herself, and tries to discover the truth about the world. No one at the luncheon puts forth a similar effort. Furthermore, none of the people at the luncheon have any rapport with or know how to handle flowers, which seem to stand in for beauty and emotion. The flowers Hugh and Richard choose, carnations and roses, are traditional. Richard carries his flowers like a weapon, while Lady Bruton first holds them awkwardly by her lace collar, then stuffs them down the front of her dress. Clarissa is natural around flowers, and they constantly surround her, suggesting her connection to nature and the deeper reaches of the soul. Finally, Clarissa believes that she throws parties to create but wonders to whom she gives her creation. This question echoes Peter’s dream, when the solitary traveler wonders to whom he can reply when the landlady asks if he needs anything. In the modern world, people are alone; they have no one to answer their questions or to make offerings to. Clarissa is aware of this tragedy of the modern era, while the insular characters representing the English establishment are not.

Part 7: From Elizabeth telling her mother she is going shopping with Miss Kilman through Elizabeth boarding an omnibus to return home to her mother’s party. 3:00 p.m.–late afternoon
Analysis

Miss Kilman bullies with her religion just as Sir William Bradshaw bullies with his science. The world has treated Miss Kilman badly because of her poverty, her ugliness, even her German name. She seeks revenge and wants to make Clarissa, who is likeable and attractive, unhappy the way she is. A falling tree killed Clarissa’s sister, and Miss Kilman would like to “fell” Clarissa. Trees, with their extensive root systems, are like the soul, so this ****************phor suggests that Miss Kilman is out to kill souls, just as Sir William is. Clarissa feels this murderous impulse masquerades as love and finds the deception horrifying, especially since she believes Elizabeth is vulnerable to it. Clarissa sees religious, scientific, and romantic belief as false justification for the flaws and weaknesses in people’s characters, and she does not feel that these beliefs can explain the mystery of human beings’ isolation in a world of activity. Clarissa believes that everyone is responsible for themselves and for others. As a born-again Christian, Miss Kilman seeks to convert Elizabeth to her beliefs the way Sir William seeks to convert people to his idea of sanity. Because Miss Kilman is a woman, she does not have the opportunities for success as Sir William, but both characters thirst after domination in similar ways.
Elizabeth does not return Miss Kilman’s lesbian attraction, as Clarissa suspected, but she is attracted to the new ideas and options that Miss Kilman puts before her, even if her laziness precludes her from pursuing them. Elizabeth enjoys exploring London for an afternoon and considers career options, but she is not a complex thinker like Clarissa. Though new careers are now open to women, Elizabeth is too passive to delve deeply into new territory. Richard says that if he had had a boy, he would have encouraged him to work, but he does not encourage Elizabeth in this regard. While the social climate is changing for women, it does not seem as though Elizabeth will take a groundbreaking path; it seems likely that she will probably follow her parents into an upper-class life.
The old woman Clarissa watches in the window reveals the human conflict at the heart of the novel—the interplay between communication and privacy. Clarissa struggles to understand why people need privacy, if they need it at all, and what makes communication so difficult. Clarissa and the old woman have been neighbors for years, but, though Clarissa knows the woman’s movements, she does not know the woman’s name. The woman is a mystery, and her distance is both a comfort and an ache for Clarissa. The human soul must exist alone and look to itself for answers, but it also craves communication and the company of others. The rooms of a house are a ****************phor for the soul, a safe but empty place where one can hide from or ignore the judgmental eyes of the world. Like the house ****************phor, the figure of the old woman also suggests both the solace of the human soul and its loneliness. The soul can be shared with others only to a small degree, though Clarissa tries to solve this dilemma by throwing parties and constantly calling out to people to remember them. Clarissa’s reaching out is also limited, and no one even considers that Clarissa will invite Miss Kilman to the party that evening. Before Septimus’s suicide, he sees an old man on the staircase opposite his window, a scene that parallels Clarissa’s watching the old woman and emphasizes the extreme loneliness of characters living in their own private rooms.

Part 8: From Septimus observing dancing sunlight in his home while Rezia works on a hat through Septimus’s suicide. Late afternoon–6:00 p.m
Analysis
In this section, Septimus seems to come out of his illness into a kind of remission. He is lucid, sees the world through clear eyes, and does not hear voices. He watches Rezia playing with the child, building up the moment into something wonderful, the way Clarissa does when she walks through the London streets or throws a party. Clarissa and Rezia act as life forces in the novel, and both are compared to trees. Septimus feels he is on the edge of a forest, because his and Rezia’s souls are now easy together, and they communicate naturally, like any other married couple, over the design of Mrs. Peters’ hat. As Rezia sews, the pair converses intimately, the threads of their thoughts intermingling in a beautiful pattern. Septimus seems to forget the approach of the doctors. When he wakes up after helping Rezia with the hat-making and sees he is alone, he experiences the same emotional shock as Clarissa did when she put down her yellow-feathered hat that morning and felt an emptiness at the heart of life. The world is beautiful, but Septimus’s soul has been severely damaged by the war, and the beauty he sees is ephemeral. He tries to preserve this soul from the clutches of the overbearing doctors by asking Rezia to burn the papers on which he drew and wrote his thoughts over the period of his illness. Septimus’s temporary sanity ends with his suicide.
Dr. Holmes’s arrival forces Septimus to choose between committing suicide or surrendering his soul. Opting for death of the body instead of death of the soul, Septimus flings himself onto the railings beneath his window. Throughout the novel, houses and rooms serve as ****************phors for the soul and its yearnings for privacy, and railings mark the border between the interior of the home and the public world of society. By throwing himself onto the railings, Septimus seems to attempt a kind of communication, while at the same time protecting his private soul from Holmes and Sir William. Before his plunge, Septimus sees an old man descending the staircase opposite his window. Unlike the old woman Clarissa observes ascending the staircase or wandering safely through the rooms of her home, the old man is symbolically leaving the privacy of his home. If Septimus must part with the privacy of his soul, he will make his soul public but refrain from sacrificing it. He does not want to die, but since he feels he has no alternative due to the doctors’ threats, he will make the decision and perform the action himself. He demonstrates his refusal to let the doctors take his soul when he announces, “I give it you!” Nobody has taken Septimus’s soul. The first-person pronoun indicates that he has given it himself. Though his death is tragic, he has maintained agency and dignity in choosing his destiny.
Septimus’s suicide reveals the blindness of human nature as embodied by Holmes and Sir William. Before this point, Septimus had given many indications that he contemplated killing himself, the most obvious being when he openly says that it is his intention to do so. Yet Holmes, referring to the suicide, asks how it was possible to predict it would happen and decides that it was an impulsive act for which no one is to blame. These are absurd claims and questions, and they reveal Holmes’s willful blindness to the truth. Nobody wishes to take responsibility for Septimus’s death or to believe its cause to be anything beyond a spontaneous impulse. Holmes would rather the world sleep quietly and drugged, as he forces Rezia to do, rather than wake up and ask questions about human cruelty. Acknowledging Septimus’s motivations would threaten the beliefs that are the foundation of the doctors’ lives.

Part 9: From Peter Walsh hearing the sound of an ambulance siren to his opening his knife before entering Clarissa’s party. 6:00 p.m.–early night
Analysis
The ambulance Peter hears is the one carrying Septimus’s body, and Peter’s adoring interpretation of the ambulance siren as a “triumph of civilization” is ironic, because Septimus has sought death to escape the very civilization Peter reveres. In the wailing siren, Peter hears all that is good about English society—its humanity, efficiency, and compassion. However, Septimus found those same things constricting and deadening, not liberating and inspiring. Peter stands across from the British Museum, a structure that suggests England’s might, tradition, and imperial power. Septimus fought to preserve these virtues during the war, and they eventually became hollow and meaningless to him. Peter hears humanity in the ambulance siren, but the inhumanity of the English medical system played a part in Septimus’s death. Peter constantly notices the civilization of England, and the repetition of the word, juxtaposed with Septimus’s death, calls Peter’s accuracy into question. London is surely no gentler than the countries, such as India, England sets out to “civilize” through colonization. Likewise, the communal spirit Peter observes in London is also questionable, since the Londoners in the novel, even Peter himself, are incredibly isolated. Peter reads the world only superficially, seeing what he wants to see and not probing too deeply beneath the surface. Septimus perhaps probes too deeply, and he cannot bear what he finds. Both Septimus and Peter read the same cricket scores and the same news in the evening paper, a similarity that emphasizes the different ways in which each man interprets the same world.

Though Peter constantly doubts himself and his decisions, at the hotel and the dinner he momentarily reveals the kind of man he could be, or wants to be. Until now, Peter has seemed hysterical, bursting into tears in front of Clarissa and claiming madly to himself that he no longer loves her. At the hotel, however, he seems composed and in control. As he moves about his room, he imagines how Daisy sees him: as a reliable man who shaves, dresses, and takes firm control of life’s small details. He suspects he cannot actually make her happy, and that she will be better off without him, but he seems to like the feeling of being depended on and looked up to by this younger, foolish girl. At the dinner Peter slides more fully into this version of himself. With dignified detachment he selects wine and eats his dinner, showing more composure than at any other point in the novel. When Peter orders his Bartlett pears, the new Peter seems to crystallize. He knows exactly what he wants, and says so clearly. Gone, for the moment, are the usual hemming and hawing, the incessant justifications and qualifications that usually bloat his thoughts and desires. For this short moment at the table he is comfortable in his own skin.
Clarissa recognizes the conflict between nurturing her need for privacy and fulfilling her desire to emerge and communicate with others, which is why she throws her parties. Peter compares people to fish that swim for ages in the gloomy depths and occasionally need to come to the surface and frolic in the “wind-wrinkled waves.” People need to form community, however brief; they need to gossip at parties. The effort to communicate requires endurance, which is why Peter prepares himself and opens his knife before entering the party and why Clarissa purses her lips and creates a composed “diamond” face for the world. Septimus was tortured in the private world of his own soul after the war and, with his inability to hold himself together, was also at the mercy of the public world. He could no longer summon the endurance necessary to face the world or even exist in it, and even Peter and Clarissa hang on by only a thread—the tenuousness of which is emphasized by the knife and scissors with which they greet each other earlier in the day. Though Peter often misjudges and criticizes Clarissa, he admires her endurance and strength. Clarissa may have her failings and weaknesses, but her determination to stitch together her internal and external worlds, however briefly or infrequently, makes her a remarkable woman.
Part 10: From servants making last- minute party preparations through the end of the party and the appearance of Clarissa. Early night–3:00 a.m.
Analysis
Septimus’s death makes Clarissa’s party seem even more indulgent than it is. Elizabeth’s obsession with her dog, the men’s enjoyment of their wine, and Clarissa’s gushing welcomes to guests all seem trivial in light of Septimus’s suicide. More troubling is the fact that Clarissa’s party entertains Septimus’s oppressors, the upholders of stifling British society, including Sir William. Most of the guests seem to have failed in some way, and nearly all live in the bubble world of upper-class England. Clarissa’s stuffy Aunt Helena, the botanist who believes in suppressing emotion and any interesting topic of conversation, spent a lifetime weighing flowers down with books to make them flat. This hobby suggests her wish to squash the human soul in order to preserve the social mores of English society; it also demonstrates the danger of applying analytic, scientific study to aesthetic values. The prime minister himself is present, a comical, slightly pathetic figure who struggles to be a figurehead to a public desperate for symbols. The social system is empty and even ridiculous, but Clarissa and her guests uphold it nonetheless.
Clarissa worries that the party will be a failure until she sees a guest beat back a blowing curtain, which serves as a kind of border between the private soul and the public world. Her guest refuses to let the curtain get in the way of his talking, and his beating it back reveals his dedication to communication. Clarissa imagined her party as a forum for discussion of topics that people would not normally discuss, and people are indeed emerging somewhat from their usual selves. The party seems to be a success. One of Clarissa’s happiest memories is of the blinds blowing at Bourton when she and her friends were young and honest communication was possible to a greater degree. As the old woman in the window across from Clarissa’s window suggests, true communication becomes harder as one grows older and more isolated. Clarissa’s party provides an outlet, however brief, where communication might take place once again.
Here at the party, for the first time, we see Sally Seton as she is in the present, outside of Clarissa’s memory. She swoops in unexpectedly, having heard of the party from a friend as she was passing through town. Clarissa’s first thought is that Sally looks nothing like what she remembered—the luster has left her. She observes this without judgment or reproach and still asserts that it is wonderful to see her, but even then she adds that Sally is “less lovely.” Clarissa remembers with some disbelief the Sally from Bourton and cannot reconcile those images with the Sally that has appeared in her home. Brazen, wonderful, creative Sally is now the wife of a miner, the mother of five sons, a gardener, and a lady (her married name is Lady Rosseter). Though Clarissa loves flowers, she does not grow them, and Sally’s passion for her garden gives her an earthy and immediate physicality that Clarissa lacks. Though Sally and Clarissa hug and kiss hello, this Sally seems less real than the Sally who has lurked in Clarissa’s imagination all these years.
Sally’s appearance at the party brings the past crashing into the present, and Clarissa, faced now with the real woman from her memories, must confront the present head-on. Clarissa and Sally barely have time to catch up before Clarissa leaves her with Peter to devote herself to other guests. Clarissa has spent years remembering, even lusting after, Sally, and now that Sally is here, in the flesh, Clarissa cannot face her; as with Peter and the young woman he follows, Clarissa prefers fantasy to reality. In many ways, Clarissa has spent her life stuck in Bourton, with her memories of Sally and her occasional regrets about Peter simmering constantly under the surface of her life. Now, here they are, the both of them—Sally and Peter—and Clarissa barely speaks to them. The feelings she has about them are distant and hollow, not within her heart but outside it. When she sees Peter and Sally talking and laughing about the past, she cannot join them. Only after watching the old woman next door and thinking about Septimus does she gather the courage to find them. To face the present fully she must first come to terms with her own aging and eventual death.
When Clarissa retreats to the small solitary room to reflect on Septimus’s suicide, she experiences a powerful revelation, which is the climax of the novel. The impression of the prime minister’s body is still on the chair in the room, emphasizing that the soul is never completely alone or free from the influence of social pressures. Clarissa feels that Septimus’s death is her own disgrace, and she is ashamed that she is an upper-class society wife who has schemed and desired social success. His death is also her disgrace because she compromised her passion and her soul when she married Richard, while Septimus preserved his soul by choosing death. She remembers the line from Shakespeare’s Othello, “If it were now to die, ’twere now to be most happy.” She has lived to regret her decisions, just as Othello did. Clarissa sees her life clearly and comes to terms with her own aging and death, which ultimately enables her to endure. When she returns to the party, we see her from Peter’s perspective, not her own, and the novel ends without any more glimpses into her mind

Important Quotations Explained
1. For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh; but the veriest frumps, the most dejected of miseries sitting on doorsteps (drink their downfall) do the same; can’t be dealt with, she felt positive, by Acts of Parliament for that very reason: they love life.

This quotation, part of Clarissa’s thoughts as she walks to the flower shop in the early morning and Big Ben chimes the hour, reveals her strong attachment to life and the concept of life as her own invention. The long, galloping sentence, full of commas and semicolons, mirrors her excitement at being alive on this June day. Clarissa is conscious that the impressions of the things around her do not necessarily hold beauty or meaning in themselves, but that humans act as architects, building the impressions into comprehensible and beautiful moments. She herself revels in this act, in the effort life requires, and she knows that even the most impoverished person living on the streets can derive the same wonder from living. She sees that happiness does not belong to a particular class, but to all who can build up a moment and see beauty around them. Later her husband Richard sees a vagrant woman on the street but classifies her only as a social problem that the government must deal with. Clarissa believes that every class of people has the ability to conceptualize beauty and enjoy life, and she therefore feels that government intervention has limited uses. She does not equate class with happiness.


2. She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day.
Explanation for Quotation 2 >>
This quotation, which occurs during Clarissa’s shopping expedition when she pauses for a moment to look at the omnibuses in Piccadilly, emphasizes the contrast between the busyness of public life and the quiet privacy of the soul. Clarissa, even when she is walking in the crowded city streets, contemplates the essential loneliness of life. The image of water acts much like the image of the sun in the novel. The sun beats down constantly, sometimes creating a wonderful feeling of warmth, sometimes scorching unbearably. The rhythmic movement of the sea’s waves is similar. Sometimes the cyclical movement is breathtaking, while sometimes it threatens to drown whoever is too weak to endure the pressure, such as Lady Bradshaw or Septimus. Each person faces these same elements, which seems to join humans in their struggle. However, everyone is ultimately alone in the sea of life and must try to stay afloat the best they can. Despite the perpetual movement and activity of a large city like London, loneliness is everywhere.
Clarissa’s reflection occurs directly after she considers her old friend Peter, who has failed to fulfill the dreams of his youth. As Clarissa ages, she finds it more difficult to know anybody, which makes her feel solitary. She hesitates to define even herself. Failing, becoming overwhelmed by the pressures of life, and drowning are far too easy. Clarissa is fifty-two, she’s lived through a war, and her experiences amplify the dangers of living and of facing the world and other people.

3. This late age of the world’s experience had bred in them all, all men and women, a well of tears. Tears and sorrows; courage and endurance; a perfectly upright and stoical bearing.
Explanation for Quotation 3 >>
This quotation occurs directly after Clarissa reads lines from Shakespeare’s play Cymbeline in a bookshop window. The lines “Fear no more the heat o’ the sun / Nor the furious winter’s rages” come from a hymn sung at a funeral and suggest that death is a release from the hard struggle of life. The words speak very directly to Clarissa’s own time period, the years after World War I. England is still in shock after having lost so many men in battle, the world now seems like a hostile place, and death seems like a welcome relief. After Clarissa reads the words from Cymbeline, she considers the great amount of sorrow every person now bears. Everyone, regardless of class, has to some degree been affected by the war.
Despite the upright and courageous attitudes many people maintain, they all carry a great sadness, and people cry constantly in Mrs. Dalloway. Peter Walsh bursts into tears at Clarissa’s house. Clarissa’s eyes fill with tears when she thinks of her mother walking in a garden. Septimus cries, and so does Rezia. Tears are never far from the surface, and sadness lurks beneath the busy activity of the day. Most people manage to contain their tears, according to the rules of society, or cry only in private. Septimus, the veteran, is the only character who does not hesitate to cry openly in the park, and he is considered mentally unstable. People are supposed to organize bazaars to help raise money for the veterans. People are supposed to maintain a stiff upper lip and carry on. Admitting to the horrors of the war by crying is not acceptable in English culture, though as Clarissa points out, a well of tears exists in each of them.
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4. Clarissa had a theory in those days . . . that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places after death . . . perhaps—perhaps.
Explanation for Quotation 4 >>
This quotation occurs as Peter Walsh walks back to his hotel. He hears the ambulance go by to pick up Septimus’s body and remembers Clarissa’s passion during their youth. Clarissa was frustrated at how little one person could know another person, because she felt that so much of a person existed out of reach of others. A person’s soul was like a plant or a tree, with a small part showing aboveground and a complex, unseen root system existing underneath. Although Clarissa had experienced death at a young age when her sister Sylvia died, she did not want to believe that death was the absolute end. Instead she believed that people survived, both in other people and in the natural world. To know someone beyond the surface, one had to seek out the people and places that completed that person. The structure of Mrs. Dalloway supports Clarissa’s theory, since most of the novel concerns people’s thoughts rather than surface actions. These thoughts connect to people and things far beyond the people and things that are ostensibly closest to them.
Clarissa told Peter of this transcendental theory while riding on an omnibus with him through London. The omnibus, an open-air bus that offers a view of everything around, symbolizes the ease with which the friends could once share their deepest thoughts. As adults, they are restricted by the repressive rules of English society, which is symbolized by great and somber automobiles with their blinds drawn. Clarissa still believes in the interconnectedness of humans and the natural world, and she thinks about it during her walk to the shops. However, Peter and Clarissa no longer feel so easy sharing their most deeply held ideas with one another, and Peter supposes Clarissa has hardened into a boring and shallow upper-class society wife who would no longer consider such ideas true or important.
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5. She felt somehow very like him—the young man who had killed himself. She felt glad that he had done it; thrown it away. The clock was striking. The leaden circles dissolved in the air. He made her feel the beauty; made her feel the fun. But she must go back. She must assemble.
Explanation for Quotation 5 >>
This quotation occurs at the day’s end, when Clarissa is at her party and receives news of Septimus’s death from Lady Bradshaw. Clarissa retreats to the small room where the prime minister sat to reflect on the young veteran. She had never met him and does not even know his name, but she experiences a moment of clarity, or “moment of being,” in the small room when she identifies strongly with him and his dramatic action. Woolf created Septimus as Clarissa’s double, and throughout the book he has echoed her thoughts and feelings. In this scene, Clarissa realizes how much she has in common with this working-class young man, who on the surface seems so unlike her.
Everything converges in this one moment, and this scene is the climax of the book. The narratives of Clarissa and Septimus finally meet. A wall separates the public sphere of the party from Clarissa’s private space, where her soul feels connected to Septimus’s soul. The clocks that have been relentlessly structuring the passing day continue to chime. Despite the sounding clocks and the pressures of the party outside, however, Clarissa manages to appreciate that Septimus has preserved his soul through death. Clarissa began her day by plunging ****************phorically into the beautiful June morning, and Septimus has now literally plunged from his window. An effort and commitment to the soul is necessary to plunge into life or death, and Clarissa, who has reached middle age and is keenly aware of the compromises she has made in her own life, respects Septimus’s unwillingness to be crushed by an oppressive power like the psychiatrist Sir William. Clarissa repeats the line from Cymbeline, “Fear no more,” and she continues to endure. She will go back to her party and “assemble.” In the postwar world, life is fragmented and does not contain easy routes to follow, but Clarissa will take the fragmented pieces and go on trying to make life up as best she can.
Study Questions and Essay Topics
Study Questions
1. “Fear no more the heat ’o the sun / Nor the furious winter’s rages” is a quote from Shakespeare’s play Cymbeline. The words are repeated or alluded to many times throughout Mrs. Dalloway, by both Clarissa and Septimus. What do the words mean, and why do Clarissa and Septimus repeat them?
Answer for Study Question 1 >>
Clarissa Dalloway first reads the words from Cymbeline in a bookshop window when she sets out to buy flowers for her party, and their meaning is particularly significant in light of World War I. The lines are from a funeral dirge and suggest that death is not a thing to be feared, but rather it should be seen as a relief from the hard struggles of life. World War I has wrought devastation throughout England, and tragedy or the possibility of it is never far from people’s thoughts. Clarissa, a middle-aged woman who is coming to terms with her own aging and eventual death, meditates on these lines throughout the day. The words foreshadow the death of Clarissa’s double, the veteran Septimus, who repeats them before he commits suicide.
The lines from Cymbeline connect to the strong use of nature imagery that appears throughout the novel. The characters who are most connected to nature, such as Clarissa and Septimus, are also the most responsive to poetry and reflect about death and their place in the world most frequently. Both Clarissa and Septimus feel the importance of fire. The “heat o’ the sun” can appear as something wonderful, like passion. Clarissa describes romantic love as “a match burning in a crocus.” The heat can also consume, however, and Septimus, mentally wounded by the horrors of war, feels that the world will erupt in flames, in a fire that can no longer be contained. Whether wonderful or deadly, the heat of the sun is constant, and something everyone must endure. The quote suggests that death be embraced as a release from the burden of endurance.
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2. Woolf created Septimus Warren Smith as a double for Clarissa. In what ways are Clarissa and Septimus different? In what ways are they the same?
Answer for Study Question 2 >>
Woolf originally planned to have Clarissa die at the end of Mrs. Dalloway, but she decided instead to create a double for her, Septimus Warren Smith. Septimus would die in Clarissa’s place, while Clarissa continued to endure. Many obvious differences exist between the two characters. Septimus is a man and twenty years younger who has fought and been damaged in the war. Clarissa is of the upper class, while Septimus is a working-class clerk. Clarissa still finds meaning in the symbols of English society, such as the prime minister and expensive cars, while Septimus sees them as meaningless. While Clarissa is able to gather her face into a neat diamond shape so she can meet the world with pursed lips and an unflappable demeanor, Septimus’s lips are loose and he has lost the ability to focus or distinguish reality from his own visions. Septimus’s inner world overflows into the public sphere, whereas Clarissa's interior remains contained. Septimus is considered insane, while Clarissa remains sane.
Clarissa and Septimus differ, but they also share many physical and emotional qualities. Each has a beak-nose, enjoys being at home in the domestic sphere, and quotes Shakespeare. Both have doting spouses. The first time we encounter Septimus, he is observing the car that backfires, just as Clarissa is. Their similarities also go beyond these surface details. Both have an instinctive horror of those who crave power, such as Sir William and Miss Kilman. Both Clarissa and Septimus believe that people are connected to trees in a spiritual way, and nature matters a great deal to both of them. At the end of the novel, in a very direct link, Clarissa “felt somehow very like him—the young man who had killed himself.” She realizes that Septimus's death is, like her party, an attempt to communicate. This moment is an epiphany, or moment of being, when Clarissa realizes that Septimus is in some way a part of herself.
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3. Conversion is seen as a constant threat in the novel. Which characters wish to convert others, and what are they trying to convert others to? Are some characters more susceptible to conversion than others?
Answer for Study Question 3 >>
The two characters who try most actively to convert others in the novel are the psychiatrist, Sir William Bradshaw, and Elizabeth’s history teacher, Doris Kilman. Sir William ostensibly attempts to convert people to his conception of health and science, while Miss Kilman introduces people to her views on religion and God. Both characters, however, seek dominion over others and use the concept of conversion only to gain power. Miss Kilman admits to herself that it is Clarissa’s soul she wishes to “subdue” and “make feel her mastery.” Miss Kilman seeks power in the name of Christianity, just as Sir William exiles people to mental institutions in the name of science.
The very sight of Sir William makes Clarissa uncomfortable, and she is highly sensitive to his desire to convert people to his worldview. Her awareness and vulnerability to Sir William’s and Miss Kilman’s greed for power comes from her ability to think deeply and empathize with others’ emotions and motivations. Septimus also has this acute awareness about the world around him, and he is even more susceptible to conversion than Clarissa, due to his low social status. English society is another force that tries to convert people, but it also, to some extent, protects the upper class from the control of someone like Sir William. While Lady Bradshaw succumbs to social—and marital—pressure, Lady Bruton, in contrast, is safe from Sir William’s clutches due to her close association with the empire. She may have lost her sense of “proportion” with her Canada obsession, but other members of her class will indulge and protect her. Characters who are more individual, like Clarissa and Septimus, are more at risk than those who view themselves purely as part of English society.
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Suggested Essay Topics
1. Mrs. Dalloway is constructed from many different points of view, and points of view are sometimes linked by an emotion, a sound, a visual image, or a memory. Describe three instances when the point of view changes and explain how Woolf accomplishes the transitions. How do the transitions correspond to the points of view being connected?
2. Flowers, gardens, and nature are important motifs in the novel. Choose three characters and describe their relationships to the natural world. What do these relationships reveal about the characters or their functions in the novel?
3. Characters in the novel come from a range of social classes. What does Peter mean when he feels the “pyramidal accumulation” that weighed on his generation is shifting? How did the old social order weigh particularly heavily on women?
4. What role does Sally Seton play in Clarissa’s life, and what is the significance of her surprise appearance at the party?
5. World War I affected all the characters in the book to some degree. How did the war influence at least three of the characters?
6. The multitude of minor characters in the novel can be compared to the chorus in a classical Greek drama. They are often observers in the street. Choose three or four minor characters and describe their roles. What is their importance to the novel as a whole?
7. When Clarissa reflects on Septimus’s death at the end of the novel, she experiences a moment of being, or an epiphany. What truth becomes clear to her, and why is it significant?

Quiz
1. What does Clarissa set out to purchase in the novel’s opening scene?
(A) A bag of ice
(B) Flowers
(C) Champagne
(D) Fairy lamps

2. What object does Peter Walsh always have with him?
(A) A banjo
(B) A flashlight
(C) A silver comb
(D) A pocketknife

3. What color is Clarissa Dalloway’s party dress?
(A) Lavender
(B) Peach
(C) Green
(D) Red

4. In which month does the novel take place?
(A) June
(B) October
(C) December
(D) April

5. Which male character proposes marriage to Clarissa and is refused?
(A) Hugh Whitbread
(B) Septimus Warren Smith
(C) Joseph Breitkopf
(D) Peter Walsh

6. Septimus feels human nature is essentially evil. Which character does he claim embodies “human nature”?”
(A) Lucrezia
(B) Richard Dalloway
(C) Dr. Holmes
(D) Doris Kilman

7. Which line from a Shakespearean play is repeated several times throughout the novel?
(A) “Out, damned spot! Out, I say!—”
(B) “Fear no more the heat o’ the sun / Nor the furious winter’s rages”
(C) “If music be the food of love, play on”
(D) “But, soft! what light through yonder window / breaks?”

8. What is Lucrezia Smith’s profession?
(A) Schoolteacher
(B) Cellist
(C) Hat-maker
(D) Florist

9. Septimus goes to the doctor because he is suffering from what illness?
(A) ****************l shock
(B) A toothache
(C) Back problems
(D) The flu

10. Why does Lady Bruton invite Richard Dalloway and Hugh Whitbread to her home for lunch?
(A) She wants their advice on redecorating the parlor
(B) Richard and Hugh keep her in stitches with their crazy senses of humor
(C) She wants their help writing a letter to the editor concerning emigration to Canada
(D) She wants to warn them about Peter Walsh’s arrival in the city

11. When Richard returns from having lunch at Lady Bruton’s, what does he bring home to Clarissa?
(A) A little chow dog
(B) A bouquet of roses
(C) A fountain pen
(D) A Jacobean mug

12. Who does Clarissa compare herself to when she returns home to her attic room?
(A) A marathon runner
(B) A princess
(C) A prisoner
(D) A nun

13. What was the most exquisite moment of Clarissa’s life?
(A) When she got married
(B) When she met Hugh Whitbread in the street
(C) When Sally Seton kissed her on the lips
(D) When Elizabeth agreed to wear her pink dress to the party

14. Where does Peter Walsh live?
(A) Boston
(B) India
(C) London
(D) Sweden

15. Where did Clarissa spend her summers as a girl?
(A) Bourton
(B) Edinburgh
(C) Milan
(D) Calcutta

16. What is the name of Peter’s fiancée?
(A) Marigold
(B) Lily
(C) Lucy
(D) Daisy

17. What does Clarissa have in her hands when Peter Walsh makes an unexpected visit?
(A) A tambourine
(B) Scissors
(C) A book
(D) A spatula

18. What illness has Clarissa recently recovered from?
(A) Influenza
(B) Measles
(C) A nervous breakdown
(D) Typhoid

19. When Peter Walsh falls asleep in Regent’s Park, what does he dream about?
(A) A solitary traveler
(B) A giant squid
(C) His mother’s handbag
(D) An exam

20. Whom does Septimus hear speaking to him from behind trees and screens?
(A) Mrs. Filmer
(B) Lucrezia
(C) Clarissa Dalloway
(D) Evans

21. What does Sir William Bradshaw, one of Septimus’s doctors, believe in most strongly?
(A) Yoga
(B) God
(C) Proportion
(D) A protein diet

22. Who does Clarissa see twice in the window across from her own?
(A) A calico cat
(B) An old woman
(C) Septimus Warren Smith
(D) A young man smoking a pipe

23. Where does Doris Kilman go after having tea with Elizabeth?
(A) Regent’s Park
(B) Westminster Abbey
(C) Clarissa’s house
(D) The Salvation Army shop

24. Which shocking action did Sally Seton take at Bourton?
(A) She smoked opium at dinner
(B) She brought a pony into the breakfast room
(C) She ran naked through the hallway
(D) She threw away all of Clarissa’s father’s books

25. What does Lady Bradshaw tell Clarissa at the Dalloways’ party?
(A) That Septimus committed suicide
(B) That she’s taking a holiday to Greece
(C) That Sir William has killed her soul
(D) That she would like a copy of Clarissa’s punch recipe

[Wabel]

يعطيكم العافيه ما قصرتوا... لساني عاجز عن شكركم على تعاونكم معنا.. الله يجعلها سنه سهله علينا و عليكم يا رب ويسهل تخرجنا

[mesho ~]

welcom baib

any time :119:

[mesho ~]

:d3:

section

((C))

ther is no prose lecture tomorrow :thumbs-up:

ـــــــــــــــــــــ

as for the translation exam the doc said that if you wrote with her every lecture

there is no need foe opining the handout ..

some student told me and she's trust worthy
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good luck all :g26:


:d7:

[moon2]

Meshoo
you didn't answer me
I am waiting for you

[mesho ~]

sorry for the delay

المقال حسيتوا مررره سهل لانو تقريبا نفس منهج سنه ثالثه
وغير انوا كانت تدرسنا نعيمه بس شالوها وحطوا بدريه
وهذي مررررره حبيبه واسئلتها موياا ..

-اما على السنه اللي فاتت مدري ولله عنهم , والاختبار لسى مااختبرنا ..

ــــــــــــــــــــــــــــــ

الترجمه سهله اذا كنتي متدربه معها بالكلاس ,

اقصد تكتبين التحليل والمقارنات بين الترجمات .

بالنسبه لي سهله , يعني مجرد تعرفي القوانين وترجمة السور تحفظيها تمشين اوكي ..

اليوم جابت لنا اكملي الفراغات عن كلمات من سورة الفاتحه , الاخلاص , الناس .

بسم الله الرحمن الرحيم >> ترجمتها Most gracious most Merciful

إياك نستعين >> thee who we besech for help

كفوا >> comparable

الوسواس الخناس >> sneaking whispere

_ وجابت ترجمي قطعه ..

_ وقارني الترجمه مابين ترجمتين ..

ـــــــــــــــــــــــــــ

الشعر

تقريبا اغلب شي التركيز على معني القصيده وهو سهل لانو اغلب القصايد اللي اخذناها

عن الحرب العالميه الاولى والثانيه سو يتشابهون و في المحاضرات تهتم كثير بال

rythem , structure يعني مامرهـ أخذنا قصيده ماتكلمت عنهم ..

ـــــــــــــــــــــــــــــ

العربي وحاضر العالم :اثنينهم مقالي ,

العربي جابت سؤالين مقاليين بس وتختاري واحد :

1- تكلمي عن عناصر المقاله ؟

2- تكلمي عن مراحل تطور المقاله مع ذكر رائد المقاله ؟

ــــــــــــــــــــــــــــــ

[mesho ~]

THERE IS NO LINGUSTICS EXAM TOMORROW

:g8: :g20: :g8:

[إيزابيلا]

Hi Girls
plz section (c) tell us if there is prose lecture tmw or not
thanx alot

[Wabel]

Girls!!! Do you have any idea when will be the finals?!! Do you know the date?!.. Thanks

[mesho ~]

i will ask for you ..

[كيلو تناحة]

the finals will be 15-2 or one week befor it
not sure 100%but 90%
:c8::c8::c8::c8::c8::c8:

[moon2]

Thaaaanks alot Meshoo

you are the best

Wabel

ايش رايك نرتب لنا جدول للمذاكره

ابتداء من يوم السبت

ايش قلتي لأني انتساب وانتي انتساب فحلو نشجع بعضنا


بناااااات الانتساب اللي حابه تنضم معانا كويس

ونرتب لنا جدووول محترم:150:

ونتعاااون مع بعضنااااا في كل شيء يخص الانتساااب:bye:

[moon2]

طيب ياحلواااات بالنسبه لماااادة

History

أنا عندي الملزمه الأولى هل أذاكرها كلها؟؟؟؟؟

وبالنسبه للنثر والمسرح ياليت بعد فتره اذا فضيتو تنزلو لنا عن اهم المواضيع اللي لازم نحكي عنها

ضروووري

والله يوفق كل بنوته حلوه تتساعد معانا

[mesho ~]

yes the History ,

you can study it from the handout it has all the lectures

.. that we took in med-terms exam


good luck :g8:

[Wabel]

moon2

ما عندي اي مشكله اني اتعاون مع اي احد.. ايش تقترحي؟

انا جالسه اجمع في المواد ولسى ما اكتمل كل شي عندي

بالنسبه لفن المقال و حاضر العالم الاسلامي عرفنا انه مقالي

حاضر العالم ندرسه من الكتاب و فن المقال بس من الملزمه إللي نازله وإلا فيه شي زياده؟

طيب بالنسبه للـــ

Essay
Translation
Criticism
History of The English Language
Civilization

هل لها ملازم نازله؟! وإذا فيه تكفي وإلا آحتاج اجيب كتب؟

شكراً لآي احد ممكن يفيدني في إللي سألته

وعذراً إذا ثقلت عليكم

[wmm]

بنات فيه شخص يحل هووموركات وبحوث قريت اعلانه في منتدى ثاني

هذا الايميل homework-helper@live.com

دعواااااااااااااااااااااتكم

[Wabel]

يعطيك العافيه mesho... ما قصرتي

moon2

عندي خبر انه بس باقي شهر بس ما عندي فكره تحديداً اي تاريخ

الله يسهلها من عنده يا رب ونطلع منها على خير

[Wabel]

يعطيك العافيه mesho.. ما قصرتي

moon2

عندي خبر انه بس باقي شهر بس ما اعرف تحديداً التاريخ

الله يسهلها من عنده و نطلع منها على خير

[mesho ~]

Med-tearm Exam questiones for
حاضر العالم الاسلامي

أجيبي عن سؤال واحد مما يأتي :

السؤال الأول : أكتبي فيما يأتي :

أ- أهمية العالم الأسلامي البشرية ..

ب- إلغاء الخلافة العثمانية وإنحلال الوحدة الإسلامية ..


أو


السؤال الثاني : تحدثي بإيجاز عما يأتي :

أ- العوامل الداخلية والخارجية لضعف العالم الإسلامي ..

ب- أهمية العالم الإسلامي من حيث الموقع الأستراتيجي ..

[mesho ~]

حاضر العالم الاسلامي والعربي والمقال والترجمة وتاريخ الادب واللغويات

من ملازم الدكاترة ..

ـــــــــــــــــــ

اما النقد و الحضاره والشعر

مافي كتاب ولاملزمه فالبنات ياخذون ملازم من مدرسات خصوصيات ..

والدراما والبروز تدرسين الروايه والمسرحيه بالاضافه الا المحاضرات اللي تكتبيها معهم

واذا ماعندك مالك الا مدرسه خصوصيه ..

[moon2]

يسلمووو ميشووو ماتقصري


wabel

حتى انا ما اكتملت الملازم عندي وقاعده اجمع


بس على فكره مابقي على النهائي شي

بس شهر فقط

الله يوفقنا جميعا

[Wabel]

يعطيك العافيه mesho.. ما قصرتي

moon2

عندي خبر انه بس باقي شهر بس ما اعرف تحديداً التاريخ

الله يسهلها من عنده و نطلع منها على خير

[asolah]

سلآم ,,

بنآآت ودي أقوي لغتي الانجليزيه وابغى مدرسه أجنبيه بس محادثه
,, لانو لما اجي اتكلم اتوتر واجيب العيد:000:(حتى وان كانت جمله بسيطه) ابغى حد اخذ معه واعطي مشان اتعود "

في حد يعرف وحده اجنبيه تساعدني احسن لغتي ؟:119:

ربنآآ يوفقكم وتتخرجون ان شاء الله ع خيرر ,,:s12:

:love080:

[Wabel]

بنااااااات!!!! عندكم فكره متى الامتحانات النهائيه؟!

اي تاريخ؟!؟! :000:

[كيلو تناحة]

عندي الخبر الأكيد،،
15 -2 تبدأ الإختبارات وبما أحنا رابع فراح نبدأ الأربعاء قبل السبت علشان نخلص مع الكلية
اليوم قالته د. نعيمة الغامدي،،،يعني نبدأ 12 تقريباً،،،

[Wabel]

كيلو تناحة

شكراً على المعلومه!

يا رب سهلها علينا :000:

[mesho ~]

بكرا اخر يووم تسليم بحث اللغويات

لا تنسوووووووووووووووووووووووووووووووووووووون :119:

[moon2]

اي معلومه عن الاختبارات اسدحوها هنا يا بناااااااااااااات

[mesho ~]

صبااااحكم سكر مع جو الاختبارات :g8:

جبتلكم جزئية مهمه في مادة البروز تخص المسرحيه الثانيه Mrs.dalloway

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Privacy of the Soul and Communication in Mrs. Dalloway
By Jennifer Bress - April 01, 2008

Virginia Woolf’s novel Mrs. Dalloway is known for its flowing, stream-of-consciousness narrative form that connects external events and the thoughts of all of the characters. Ironically, one of the novel’s most prominent themes is that of individuals struggling with privacy of the soul. In particular, the main characters Clarissa Dalloway and Septimus Warren Smith serve as opposing yet connected personas that typify and develop the constant conflict between privacy and communication.
On an exterior level, Clarissa and Septimus have many distinctive traits, including gender, social class, and level of sanity. Clarissa is an older, upper-class woman struggling to maintain her private emotions while interacting reasonably with those around her. While contemplating how she interacts with others, Clarissa reflects that she “had tried to be the same always, never showing a sign of all the other sides of her- faults, jealousies, vanities, suspicions” (37). However, earlier she notes that “she had the oddest sense of being herself invisible; unseen; unknown… not even Clarissa any more; this being Mrs. Richard Dalloway” (10-11). The contrast between these two statements manifests Clarissa’s struggle between protecting the intimacy of her emotional state while fostering a sense of self among her social circles.
On the other hand, Septimus is a World War I veteran who has lost his sanity due to severe post-war depression. Septimus appears to have a similar struggle to that of Clarissa, yet he focuses more on achieving a stable state within his own mind rather than maintaining communication with others. Septimus’ wife, Rezia, attempts to stimulate his interest in the external world, “for Dr. Holmes had told her to make her husband… take an interest in things outside himself” (21). However, Septimus makes a different observation about himself, stating that “for now that it was all over, truce signed, and the dead buried, he had, especially in the evening, these sudden thunder-claps of fear. He could not feel” (87). Therefore, while Clarissa mainly struggles with attempting to communicate with others, Septimus avoids interactions with society and focuses on the presumed loss of his inner emotional state. The diversity between the two characters serves to strengthen the universality of the conflict they experience.
An early event in the **************** demonstrates the aforementioned differences between the two figures. When an official-looking vehicle passes through the streets, much excitement stirs as people wonder if the car contains the Queen or Prime Minister of England. Clarissa, who seems to have faith in her society and government, imagines “she had seen something white, magical, circular, in the footman’s hand, a disc inscribed with a name,- the Queen’s, the Prince of Wales’s, the Prime Minister’s?” (17). However, Septimus has a different take on the situation: “And there the motor car stood, with drawn blinds, and upon them a curious pattern like a tree… and this gradual drawing together of everything to one centre before his eyes, as if some horror had come almost to the surface and was about to burst into flames, terrified him” (15). Rather than arousing interest or excitement in Septimus, the car reminds him of the destruction and loss of faith associated with the government during the war, and he attempts to internalize his fears.
Despite their outward differences, many traits typify both Clarissa and Septimus during their development in the novel. For instance, both characters have an inclination towards literature, particularly that of Shakespeare. Clarissa views two lines of a Shakespeare play through a store window in the exposition of the plot: “Fear no more the heat o’ the sun/ nor the furious winter’s rages” (9). These lines are repeated and reflected upon often by both Clarissa and Septimus later on, and Clarissa particularly adapts the lines to her own fear of aging. Similarly, Septimus often analyzes his life by referring to Shakespeare, such as his statement after remembering his experiences in the war: “Here he opened Shakespeare once more. That boy’s business of the intoxication of language-Antony and Cleopatra- had shriveled utterly” (88). Like Clarissa, Septimus is able to apply literature to his own development. The characters’ inclination towards such writing implies that they are prone to analyzing people and events on a more in-depth level than those that are ignorant of literature, such as Clarissa’s husband.
Eventually, both Clarissa and Septimus reach a moment where each character faces the respective side of the conflict that they have been contemplating. Interestingly, this moment takes place at the same time for both characters. With Rezia’s constant imploring, Septimus eventually yields to her desire for him to see a psychiatrist: “At last, with a melodramatic gesture which he assumed mechanistically and with complete consciousness of its insincerity, he dropped his head on his hands. Now he had surrendered; now other people must help him” (90). Soon after this statement, the reader realizes that Clarissa undergoes a similar transition: “twelve o’clock struck as Clarissa Dalloway laid her green dress on her bed, and the Warren Smiths walked down Harley Street. Twelve was the hour of their appointment” (94). Just as Septimus must communicate with other members of society, Clarissa puts down her social dress, actions symbolizing an exchange between privacy of the soul and social interactions.
In addition, at some point in the narrative both Clarissa and Septimus undergo a brief moment of clarity. Clarissa’s moment occurs early in the ****************, after she contemplates her husband’s lunch appointment with a woman friend. The narrative describes this moment:
It was a sudden revelation, a tinge like a blush which one tried to check and then, as it spread, one yielded to its expansion, and rushed to the farthest verge and there quivered and felt the world come closer, swollen with some astonishing significance, some pressure of rapture, which split its thin skin and gushed and poured with an extraordinary alleviation over the *****s and sores! Then, for that moment, she had seen an illumination; a match burning in a crocus; an inner meaning almost expressed (32).
Clarissa appears to be experiencing a deep reflection on how the soul can, at times, connect to that of another person, such as when one is in love. The images of the revelation as an “illumination” or a “match,” similar to the fire that Septimus saw when the car drove by, connote a moment of intense emotional experience. During this moment, Clarissa realizes that it is possible to share the intricacies of the soul with another person.
Similarly, Septimus experiences a moment of clarity when he is spending time with Rezia, right before he commits suicide. As he is helping Rezia make a hat for a friend, Mrs. Peters, Septimus feels a brief period of sanity: “None of these things moved. All were still; all were real … Miracles, revelations, agonies, loneliness, falling through the sea, down, down into the flames, all were burnt out” (142-143). He helps Rezia fix the hat, and afterwards describes how “never had he done anything which made him feel so proud. It was so real, it was so substantial, Mrs. Peters’ hat” (144). The stillness of Septimus’ visions asserts that he is temporarily returned to sanity, and the images of the flames burnt out imply an absence of the inner turmoil that earlier had haunted him. In the same way Clarissa experiences an emotional connection, Septimus feels a connection to his wife and the outside world, away from the private thoughts of his soul. He realizes it is possible to communicate and produce “substantial” accomplishments, an idea juxtaposed to his earlier ignorance of society and inability to relate to others in any meaningful manner. These moments of clarity help each character by balancing their constant reflection on one side of the conflict with a truth about the other.
Clarissa and Septimus also share similar moments of reflection when they observe an elderly woman or man from afar. Clarissa views an elderly woman neighbor who lives alone and contemplates: “she watched out of the window the old lady climbing upstairs. Let her climb upstairs if she wanted to; let her stop…Somehow one respected that- that old woman looking out of the window, quite unconscious that she was being watched. There was something quite solemn in it” (126). Though the woman has complete privacy of her soul, “solemnity” most likely stems from the fact that the woman is alone and is unable to communicate with others, the other part of life that is necessary for humans as social beings. The woman withdrawing and climbing the stairs symbolizes her removal from any sort of connection to the outside world. Clarissa respects this act because she has been incapable of entirely avoiding communication, and instead spends the day throwing a party to stimulate further social interaction.
Likewise, Septimus views an old man descending a staircase out of a house before he throws himself over a balcony to commit suicide. Septimus’ death is described: “Coming down the staircase opposite an old man stopped and stared at him. Holmes was at the door. “I’ll give it you!” he cried, and flung himself vigorously” (149). While the old woman Clarissa observed was ascending stairs and hiding from the outside world, the old man is descending the stairs and exposing himself to society. Septimus cries “I’ll give you!” to assert that he has maintained control over his own private soul, and only will expose it when he wants to, rather than when the doctor probes him. Septimus commits suicide by leaving the house, an action symbolic of leaving the privacy of the soul and revealing himself to others. Thus, Septimus’ death is his final method of communicating with the world while keeping his interior protected. The old man and old woman that Clarissa and Septimus watch help clarify relations with either one’s soul or outside society by typifying experiences that other people have that relate to the protagonists, and have similar views with respect to privacy and communication.
A final connection is made directly between Clarissa and Septimus in the climax of the novel, when Clarissa comments on Septimus’ suicide. She decides that: “Death was defiance…an attempt to communicate; people feeling the impossibility of reaching the centre which, mystically, evaded them; closeness drew apart; rapture faded, one was alone. There was an embrace in death” (184). Clarissa feels responsible for the suicide: “Somehow it was her disaster- her disgrace. It was her punishment to see sink and disappear here a man, there a woman, in this profound darkness, and she forced to stand there in her evening dress” (185). It appears that Clarissa and Septimus have decided to handle their private lives in different ways. While Septimus made one final communication with society while still preserving the privacy of his own soul, Clarissa has forgone much privacy for the societal figure that she has become by marrying Richard, symbolized by the reference to her dress. Interestingly, both figures realize that preserving one side of the conflict involves somewhat sacrificing the other; however, the choice over which is more important is left up to the character, as well as the reader, to decide.



More Alike Than Not: Septimus Smith and Clarissa Dalloway
By Anonymous - March 02, 2006

Eric Auerbach writes in Mimesis that one of the characteristics of the realistic novel of the era between the two world wars is the multi-personal representations of consciousness. In Virginia Woolf’s Mrs. Dalloway, first published in 1925, the novel delves into the consciousness of many characters. However, one character stands out more than any other: Septimus Smith, a WWI veteran who suffers constantly from the terrible repercussions of trench warfare. The extensive period of time Woolf dwells in his mind is both interesting and puzzling. Why does Woolf choose a secondary character who is insane – what does she hope to accomplish by this decision? Septimus has often been described as Mrs. Dalloway’s double, and on the surface, the comparison could not be stranger. For one, Septimus comes from a poor working background whereas Mrs. Dalloway is the wife of a rich upper-middle class politician. Not only is there a clear social divide, but a psychological one as well. Septimus is insane, whereas Mrs. Dalloway is not. Septimus’ madness seems to serve as a driving edge that crystallizes the distinction between the two characters. However, if we look closer, it becomes clear that the two characters are more similar than different and Septimus’ madness, rather than differentiating the two, only helps to illuminate the similarities more. Thus, Septimus needs to be insane because his insanity helps to show that Mrs. Dalloway and he are actually parallel characters.
One way in which we can use our knowledge of Septimus to understand Mrs. Dalloway is by examining their social roles. Even though the two characters may at first appear very unalike, they share many similar traits and experiences. In the novel, Septimus’ experience in the war and his struggle with the terrifying consequences of trench warfare is juxtaposed with Mrs. Dalloway and her struggle with gender roles and being a stereotypical housewife or hostess. Though the two struggles are ostensibly very different, they are the same at the core – both are fighting against societal conventions and expectations. In the case of Septimus Smith, his experiences in the trenches of World War I and the death of his good friend, Evans, cause him to lose his mind. But, the social order of Britain in the 1920s was not equipped with dealing with insanity – it was frowned upon and largely ignored by society. No one wants to acknowledge the horrifying effects of trench warfare and ****************lshock, even though the war was the most formative experience of men of Septimus’ generation. Septimus, as an able-bodied young man, is still expected to be a contributing member of society, despite suffering the terrible repercussions of war. This unwillingness to acknowledge and deal with the issue of insanity and ****************lshock is reflected in opinions of people like Dr. Holmes, who insist “There was nothing whatever the matter” (90). In fact, Holmes suggests to Septimus’ wife, Reiza, that the solution to her husband’s “moodiness” was to go to the Music Hall or take a day off and play golf together (90). Even Sir William Bradshaw, a highly respected physician, suggests sending Septimus off to an asylum because he violated societal norms and standards.
Septimus’ struggle with insanity and the consequences of trench warfare is juxtaposed against Mrs. Dalloway’s struggle against gender stereotypes. In Virginia Woolf’s time, a woman’s identity was made up of largely her relations with others: as daughter, wife, or mother. In fact, the novel begins and is titled Mrs. Dalloway – an acknowledgement of Clarissa’s defining role as the wife of Mr. Dalloway, a prominent politician. Clarissa feels a sort of entrapment in the roles society has given her, “she had the oddest sense of being herself invisible, unseen…this being Mrs. Dalloway; not even Clarissa anymore; this being Mrs. Richard Dalloway” (11). She feels acutely the need for private development and refuses to be cast simply as someone’s wife or a party hostess. In a way, her house can be seen as an ********************alent of Septimus’ asylum – both institutions are society’s methods of confinement. Clarissa’s struggle for individuality can be viewed as a reflection of Septimus’ struggle for sanity – both violate the traditional structures of society. The social order of the time created standards and forced individuals into rigid roles with certain expectations – that of a wife and a soldier. While Septimus’ struggle for sanity is obvious in the story, Clarissa’s is not. Therefore Septimus and his insanity are needed to show that both characters have a private self that diverges from public expectations of them. Perhaps, the final victory is achieved by Mrs. Dalloway who, when she comes down the stairs at the end of the novel, is finally recognized by Peter Walsh and by others as an individual in herself: “What is this terror? What is this ecstasy? … What is it that fills me with extraordinary excitement? It is Clarissa” (194).
Septimus’ madness also serves an aesthetic purpose. Woolf uses his insanity to point out the modernist notion that reality is disordered rather than structured. She achieves this through her use of style, syntax, and form. The novel employs the stream of consciousness style, which is inherently without order. Not only is it without order, though, it also blurs the distinction between sanity and insanity. When examining passages of consciousness in the novel, if we were to remove all clues that reveal the person whose consciousness we are in, it would be very hard to identify the character being described. That is not to say, of course, everyone’s consciousness is the same as Septimus’ but that the intrinsic qualities of the stream of consciousness style blurs the distinction – almost everyone’s thoughts are without a logical structure, some (Septimus’) more illogical than others. Virginia Woolf purposely chooses this style because it helps to reinforce the similarities between Septimus and Clarissa. For instance, Mrs. Dalloway describes one of her revelations as: “whether it was pity, or their beauty, or that she was older, or some accident – like a faint scent, or a violin next door…she did undoubtedly then feel what men felt” (32) How do pity, beauty, being older, or a violin connect and contribute to her understanding of what men feel? This quotation delves into the heart of the novel, which is not action or dialogue, but rather, moments of time. By focusing on the “moment”, Woolf rejects traditional structures of storytelling with their organized form. Mrs. Dalloway is neither a comedy or a tragedy, or drama or a romance. Woolf also uses syntax, specifically the semicolon, to place free-standing and independent entities into one sentence without logical connection. This also supports the idea of a disordered reality without inherent logic or connection. The semicolon is used adroitly in the following observation by Mrs. Dalloway:
In people’s eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars…brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June (4).
This juxtaposition of random and weakly connected objects (swing, carriages, barrel organs, aeroplane, etc.) exemplifies the chaotic reality that Woolf believed we lived in. However, that is not to say there is no order or that stream of consciousness style is solely a random rambling of thoughts and impressions. Although Woolf rejected the traditional forms of order, such as chapter breaks and plot, she employs a much subtler form of organization that draws its inspiration from still-life paintings, namely composition. Reiza’s hat and Clarissa’s party can both be seen as compositions that create coherence from disorder and chaos. Big Ben is another form of order in the novel, dividing the story into hours. Woolf also uses symmetry as a method of organization – the novel is at its midway point when it is midday. Although there are some attempts at organizing the novel, the underlying argument is still that reality is without inherent order – Septimus’ character helps us achieve this understanding. His insanity is the physical manifestation of the chaos in the natural world. Virginia Woolf intentionally blurs the distinction between reality and imagination, order and disorder, to show the intrinsic similarities between Septimus and Clarissa.
Septimus’ insanity can also help us in a psychological analysis of the novel, especially in studying the theme of privacy of soul. Mrs. Dalloway, even as an 18-year-old, yearns for privacy. In fact, she married Richard because “in marriage a little licence, a little independence there must be between people living together day in day out in the same house, which Richard gave her, and she him” (7). She craves private development and is offended when Peter Walsh casts her as merely a hostess. Others identify her primarily in her social role as Richard’s wife, as Mrs. Richard Dalloway, and do not see her as an individual. In a way, Clarissa envies the old lady across from her for her privacy and believes that “love and religion would destroy that, whatever it was, the privacy of soul” (127) because love and religion would require sharing and communication.
Septimus is perhaps the best example of someone who has privacy – indeed, he has complete privacy of soul. Even Reiza, his wife, does not know what he thinks most of the time. Virginia Woolf uses the scene in Regent’s park where the couple sits side-by-side on a park bench to show how distant Septimus is from Reiza, despite their physical proximity. In fact, the only time Septimus appears sane in the novel is when he helps Reiza make a hat. He begins by “putting odd colors together – for though he had no fingers, could not even do up a parcel, he had a wonderful eye” (143). Working together with his wife in creating a hat – taking ribbons and beads and wool and making a coherent whole out of the pieces – “was wonderful. Never had he done anything which made him feel so proud. It was so real, it was so substantial, Mrs. Peter’s hat” (144). In making the hat, he inevitably has to share a part of him – his thoughts and opinions – with Reiza and in doing so, extracts himself from isolation and insanity. In the end, Septimus succumbs to madness and in his last act, throws himself out of the window to preserve his privacy of soul against the encroaching figure of Dr. Holmes.
Septimus’ death is necessary in the story because it helps Clarissa realize that extreme privacy of soul in a relationship is not desirable because it is also isolating. At the end of her party, when she goes upstairs, she sees the old lady again. This time, however, rather than envying her privacy, Clarissa comes to realize that although the old lady has privacy, she is also undeniably alone. As Mrs. Dalloway watches the lady get ready for bed, she is suddenly reminded of Septimus’ death: “the young man had killed himself…There! The old lady had put out her light! The whole house was dark now” (186). The juxtaposition of Septimus’ suicide and the old lady going to bed alone help Mrs. Dalloway realize that “she must go back to them [the party]” (186). Clarissa finally understands that it is not desirable to aim for that kind of extreme privacy and reconciles herself with her role as a hostess. Septimus’ insanity and ultimate death help her realize the need for both a social and private self.
Woolf’s desire to portray “consciousness in its natural and purposeless freedom” (Auerbach) is manifest in the characters of Septimus Smith and Clarissa Dalloway. In Mrs. Dalloway, she uses Septimus’ struggle with sanity to illuminate Clarissa’s struggle for individuality in a largely patriarchal society. His death at the end also demonstrates to Clarissa the necessity for both a public and private self. Woolf uses Septimus’ madness to blur the distinction between sanity and insanity and her clever use of the stream of consciousness style – a style without inherent order – strengthen the parallels between the two main characters. Throughout the story, Virginia Woolf uses Septimus to write about Clarissa. Ultimately, we realize that his madness, rather than acting as a wedge between the two characters, juxtaposes them and reveals their inherent similarities.

[mesho ~]

This the questions for med-tearm exam for civilization


http://up4.m5zn.com/9bjndthcm6y53q1w0kvpz47xgs82rf/2010/1/22/04/ouqjyxm8d.jpg


http://up4.m5zn.com/9bjndthcm6y53q1w0kvpz47xgs82rf/2010/1/22/04/wkr7gc51y.jpg




good luck all:g8:

[إيزابيلا]

مرحبا صبايا ( fourth year)
كيفكم من بعد عناء وتعب الأختبارات ؟؟
عارفة إنو السؤال لسه بدري عليه بس حابه اعرف وياليت تفيدوني
هل بيتغير شي في طاقم التدرييس؟؟
يعني مثلا سمعت إنو د.فوزية ماراح تدرسنا وراح تجي مكانها د.حصة
و د.لمياء تجي مكانها د. علياء و د.بتول إحتمال يجي مكانها دكتور شبكة
ياليت أحد يفيدني وهل لي سمعته صحيح أو لأ ؟؟!!
ثانكــــس
موفقـــــات

[ŘỳờỞờḾ]

هـــــــــلا ايزابيلا يس بيتغيرون

الاكيد ان د. نعيمه بتتغير .. ويقولون م.بدريه الشريف بعد بتتغير .. وبتول . اما د. فوزيـــه ماسمعنــا

بالتـــــــــوفيق للجمــــــــيع ..

[Cuty LOLO]

دكتوره فوزيه يالبا قلبها ايه خلاص تغيرت اهيء اهؤ صارت بدلها د حصه

تقول الدكتوره ان د حصه طلبتها وماقدرت تقول لها لا

و استاذه بتول سمعت انها بتتغير بس هالخبر مو اكيد 100%

المقال 100% تغيرت ( استاذه بدريه الشريف ) هي قالت ماتبي تدرسنا الترم الجاي لانها مو فاضيه للمقال
ويبغاله شغل كثير

لمياء مااتوقع تتغير لانها قالت الترم الجاي اول محاضره راح نتفق على نيو ستراتيجي

مين بقى اممممممم

د نعيمه اللي سمعته من مصاردي بالاداره انو بيدرسنا شبكه + رئيسة القسم بيتقاسمونا

هذا والله أعلم

[so what]

بنات بسالكم عن هيفاء الرميييييييييح
صح الا الان ماعندها حرمآآآآآآآآآآآآآآآآآآن ؟؟؟ ولاتغيرت !!

[إيزابيلا]

مرحبا صبايا
ثانكس ريوم ولولو على ردودكم
بس لي سمعته بأذني من الدكتورات أنو فوزية ما راح تدرسنا وبتجي مكانها حصة
( هذا شي متأكدة منه 100% )
ونعيمة ماسمعت عنها شي أبد <<< الله يستر مين بيجي مكانها :(
بدرية الشريف أكيد راح تتغير <<< وإذا تجي مكانها هيفاء بجد راح أموت :(
لمياء قالولي صاحباتي من سنة3 أنها قالت لهم راح تدرسهم هذا السمستر prose وإنو علياء راح تدرسنا
بتول سمعت راح يجي مكانها دكتور شبكة
العربي سامية قالت لنا ماراح تتغير
إزدهار كمان قالت لنا ماراح تدرسنا :(
الله يسهل علينا يارب ونتخرج على خير
طيب بنات ما عندكم خبر متى النتايج ؟؟!!
so what هيفاء ما عندها حرمان بس حالها حال غيرها تحمل الطالبات وبظلم كمان
موفقات

[غـداً يوم آخر]

السلام عليكم ورحمة الله وبركاته ...

بسألكم عن طريقة د. فوزيه ؟


والله يوفقكم:mh001:

[كيلو تناحة]

farewell smile
...دكتورة فوزية عسل على مربى على سكر..يعني أيش...؟؟؟
إنسانة متفاهمة وأخلاق وبالمد تساعد بالدرجات وبالفاينل شوي تعكها بس عسل ...
سعودية تشرف بحق ولا تملين منها ..إنسانة واضحة وشرح مرتب وماتحوس ...
أقولك عسل على سكر على مربى،،،
ربنا يوفقكو ،،،

[Cuty LOLO]

وهـ بس يالبا قلب دكتوره فوزيه

ياليت كل الدكتورات مثلها قسم القسمات انها اكوس دكتوره

شوفي بالنسبه للميد دلع واسئله واضحه مافيها لف ودوران

بس بالفاينل الشورت نوتس حقها صعب حبتين تحاسب فيه على language & spelling

لكن تبقى حقانيه وتاخذين حقك ويمكن زياده عليه

[عسولة الشرقية]

اقولكم على شي



فوزيه للاسف ماراح اتدرسني هالسمستر



درستني السمستر الي فات




تخيلوا قبل الفاينل ايش قالتلنا



قالت باخر سؤال الي اختاري فقره واكتبي عنها


اذا انتي مو متاكده



اكتي عن الفقرتين كلهم وحطي اشاره بسيطه جنب الي ما تبينه



وانا راح احسبلك الصح واذا باقي كمن درجه تفصلك بين النجاح والرسوب باخذ من الثاني




تقول انا ما اسوي كذا بالمد تيرم لكن الفاينل اسوي كذا



طبعا انتوا لا تاخذون على كلامي هي صحيح قالت كذا



لكن اخاف كل سمستر لها طريقه



فانتوا اتفقوا معها قبل وان شاء الله بيكون كل شي اوكي



واذا حضوركم كااااااااااااااااااااااااااااامل تعطي درجتين :119:

[soce]

بنات علمونا عن الدكتوره لمياء كيف اسلوبها وهل سهل ان اعدي الماده معها ان شاالله:mh19:

[college mobile]

soce

توكلي على الله و بإذن الله ناجحه رزكزي على ملاحظاتها الدقيقه و الله يوفق طالبات الانجليزي :d5:

[mesho ~]

poery research

you have to choose two topics and make two reaserches

the topics are :

1- sympolism

2- imagism

3- modern poetry

4- irish uestion in late 20th century

5- post colonial litrature


the dead line is due on 4th of april which is on the next sunday

[mesho ~]

esaay question for the mid-tearm :

dr.na3eema said that she would bring one esaay and will put several questions on it

and that's it .

[mesho ~]

Arabic and civilization research is due after vacation

[mesho ~]

The Waste Land
T. S. Eliot
1922
Because of his wide-ranging contributions to poetry, criticism, prose, and drama, some critics consider Thomas Sterns Eliot one of the most influential writers of the twentieth century. The Waste Land can arguably be cited as his most influential work. When Eliot published this complex poem in 1922 — first in his own literary magazine Criterion, then a month later in wider circulation in the Dial — it set off a critical firestorm in the literary world. The work is commonly regarded as one of the seminal works of modernist literature. Indeed, when many critics saw the poem for the first time, it seemed too modern. In the place of a traditional work, with unified themes and a coherent structure, Eliot produced a poem that seemed to incorporate many unrelated, little-known references to history, religion, mythology, and other disciplines. He even wrote parts of the poem in foreign languages, such as Hindu. In fact the poem was so complex that Eliot felt the need to include extensive notes identifying the sources to which he was alluding, a highly unusual move for a poet, and a move that caused some critics to assert that Eliot was trying to be deliberately obscure or was playing a joke on them.
Yet, while the poem is obscure, critics have identified several sources that inspired its creation and which have helped determine its meaning. Many see the poem as a reflection of Eliot's disillusionment with the moral decay of post – World War I Europe. In the work, this sense of disillusionment manifests itself symbolically through a type of Holy Grail legend. Eliot cited two books from which he drew to create the poem's symbolism: Jessie L. Weston's From Ritual to Romance (1920) and Sir James G. Frazer's The Golden Bough: A Study in Magic and Religion (1890). The 1922 version of The Waste Land was also significantly influenced by Eliot's first wife Vivien and by his friend Ezra Pound, who helped Eliot edit the original 800-line draft down to the published 433 lines. While The Waste Land is widely available today, perhaps one of the most valuable editions for students is the Norton Critical Edition, which was published by W. W. Norton in 2000. In addition to the poem, this edition also includes annotated notes from editors and from Eliot, a publication history, a chronology, a selected bibliography, and a collection of reprinted reviews from the 1920s to the end of the twentieth century.
An attempt to examine, line by line, the specific meaning of every reference and allusion in The Waste Land would certainly go beyond the intended scope of this entry. Instead, it is more helpful to examine the overall meaning of each of the five sections of the poem, highlighting some of the specific references as examples. But first a discussion of the poem's title The Waste Land is necessary. The title refers to a myth from From Ritual to Romance, in which Weston describes a kingdom where the genitals of the king, known as the Fisher King, have been wounded in some way. This injury, which affects the king's fertility, also mythically affects the kingdom itself. With its vital, regenerative power gone, the kingdom has dried up and turned into a waste land. In order for the land to be restored, a hero must complete several tasks, or trials. Weston notes that this ancient myth was the basis for various other quest stories from many cultures, including the Christian quest for the Holy Grail. Eliot says he drew heavily on this myth for his poem, and critics have noted that many of the poem's references refer to this idea.


Poem Summary
I. Burial of the Dead

The first section, as the section title indicates, is about death. The section begins with the words "April is the cruellest month," which is perhaps one of the most remarked upon and most important references in the poem. Those familiar with Chaucer's poem The Canterbury Tales will recognize that Eliot is taking Chaucer's introductory line from the prologue — which is optimistic about the month of April and the regenerative, life-giving season of spring — and turning it on its head. Just as Chaucer's line sets the tone for The Canterbury Tales, Eliot's dark words inform the reader that this is going to be a dark poem. Throughout the rest of the first section, as he will do with the other four sections, Eliot shifts among several disconnected thoughts, speeches, and images.
Collectively, the episodic scenes in lines 1 through 18 discuss the natural cycle of death, which is symbolized by the passing of the seasons. The first seven lines employ images of spring, such as "breeding / Lilacs," and "Dull roots with spring rain." In line 8, Eliot tells the reader "Summer surprised us, coming over the Starnbergersee." The time has shifted from spring to summer. And while the reference to Starnbergersee — a lake south of Munich, Germany — has been linked to various aspects of Eliot's past, to Eliot's readers at the time the poem was published, it would have stuck out for other reasons, given that World War I had fairly recently ended. During the war Germany was one of the main opponents of the Allied forces, which included both the United States and England — Eliot's two homes. By including German references, which continue in the next several lines and culminate in a German phrase, Eliot is invoking an image of the war. Who are the dead that are being buried in this section? All the soldiers and other casualties who died during World War I.
The German phrase leads into a conversation from a sledding episode in the childhood of a girl named Marie. The season has changed again, to winter. Marie notes, "In the mountains, there you feel free," implying that when she is not in the mountains, on a sledding adventure, she does not feel free. In other words, Marie feels trapped, just as humanity feels trapped in its own waste land. In line 19 Eliot starts to give some visual cues about the waste land of modern society. "What are the roots that clutch, what branches grow / Out of this stony rubbish?" the poet asks. In response, Eliot refers to a biblical passage, addressing the reader as "Son of man." The poet tells the reader that he or she "cannot say, or guess" what the roots of this waste land are, because the reader knows only "A heap of broken images" where "the dead tree gives no ****************ter." These and other images depict a barren, dead land. But the poet says in line 27, "I will show you something different." In lines 31 to 34 Eliot reproduces a song sung by a sailor in the beginning of Wagner's Tristan und Isolde. Eliot is inviting the reader to come on a journey, a tour of this modern waste land. The song — which asks why somebody is postponing a journey, when there is fresh wind blowing toward a home-land — indicates Eliot's desire to regenerate this barren land. In fact his use of the word "Hyacinths," which are symbolic of resurrection, underscores this idea.
In line 43 Eliot introduces the character of Madame Sosostris, a gifted mystic with a "wicked pack of cards," or tarot cards. She pulls the card of "the drowned Phoenician Sailor," another image of death and also a direct reference to a fertility god who, according to Sir James Frazer's The Golden Bough, was drowned at the end of summer. Again these images collectively illustrate the natural cycle of death. Following the Madame Sosostris passage, Eliot, beginning in line 60, introduces the "Unreal City, / Under the brown fog of a winter dawn, / A crowd flowed over London Bridge, so many." These lines suggest a similar de************************ion of the modern city by Baudelaire. The image of brown fog is dismal, as is the next line, which notes "I had not thought death had undone so many." Eliot here is describing a waking death. These people are alive in the physical sense, but dead in all others. It is a sad city, where "each man fixed his eyes before his feet."
In line 68 Eliot notes there is "a dead sound on the final stroke of nine," which refers to the start of the typical work day. In other words these people trudge along in a sort of living death, going to work, which has become an end in itself. Within this procession, however, the poet sees someone he knows, "Stetson," who was with the poet "in the ships at Mylae!" Mylae is a reference to an ancient battle from the First Punic War, which by extension evokes an image of death on the civilization scale. The poet asks his friend if the "corpse you planted last year in your garden" has "begun to sprout?" Here again Eliot is invoking the idea of resurrection, and of the natural cycle of death and life. First, when dead people decompose, their organic matter fertilizes the ground, which loops back to the first line of the section, in which April, "the cruellest month," is breeding flowers, which presumably are feeding off this decomposed flesh. But in a more specific way, this passage refers to Frazer's book, which details a primitive ritual whereby in April these primitive civilizations would plant a male corpse, or just the man's genitals, in order to ensure a bountiful harvest. This harvest, which can be interpreted symbolically as the rebirth of civilization, is potentially threatened by "the Dog," which has been interpreted as the lack of meaning in life.
Critics interpret the dog this way largely because of the final lines of the section, a quote from Baudelaire, which indict the reader for his or her part in creating the waste land by sucking all meaning and, thus life, out of society.


Ii. a Game of Chess


In the second section Eliot turns his attention from death to sex. The title of this section refers to a scene from Thomas Middleton's Elizabethan play Women Beware Women, in which the moves of a chess game between two people are linked onstage to the seduction played out by another pair. In the first lines of the section, Eliot creates a lush image of a wealthy woman, who sits in a chair "like a burnished throne." The scene also includes "standards wrought with fruited vines," a "sevenbranched candelabra," and "jewels." On the woman's table are "satin cases poured in rich profusion." Inside these cases are "strange synthetic perfumes," which "drowned the sense in odours." In other words aphrodisiacs (artificial substances used to create or enhance sexual desire). Since sex is linked to procreation, and thus fertility, the fact that aphrodisiacs are needed is telling. In this room there is also a painting above the mantel that depicts "Philomel," a reference to a classical woman who was raped (indicated by the words "rudely forced") by "the barbarous king" Tereus. Eliot notes that "other withered stumps of time," or figures from history, are depicted on the walls. Then he launches into several disparate passages, the first of which is a hysterical plea by the woman in the room to her lover. "My nerves are bad to-night," she says, and "Stay with / me." She also asks the man what he is thinking, and repeats the word "think" several times in both question and statement form, ending with a one-word sentence, "Think." Eliot is trying to get his readers to think about the modern waste land, which is clearly indicated by his multiple emphases of the word "think" and the fact that he sets it off on its own.
Eliot repeats this pattern in another snatch of dialogue, in which he emphasizes the words "noise," "wind," and "nothing." He sets off "nothing" in its own one-word sentence like "think," although as a question: "Nothing?" The wind and the noise evoke an image of activity and life, but the final "nothing" again underscores the lack of meaning that Eliot is trying to convey. Following this passage, Eliot includes a passage that talks about remembering the "pearls that were his eyes," which refers back to the dead Phoenician sailor from the first section. Finally, in the last passage that refers to the wealthy woman and her lover, Eliot has them talking to each other, asking what they should do. Ultimately they decide "we shall play a game of chess, / Pressing lidless eyes and waiting for a knock upon / the door." While this game of chess refers back to the sexual game from Middleton's play, the rich couple literally play a game of chess, since their relationship is sterile.
The next passage switches relationships, from the idle rich to the dirt poor. This scene, which continues until the end of the section, concerns "Lil" and her husband "Albert," who has just been "demobbed," or released from the military. The line "HURRY UP PLEASE ITS TIME" is a reference to the last call at the pub, or bar, and indicates that they must hurry if they wish to drink. The poem talks about Albert, who has "been in the army four years" and who "wants a good time." In other words he wants to have sex with his wife. He has also given his wife money to buy "new teeth," because he cannot stand looking at her bad teeth. And, as Lil is warned, if she does not give Albert a good time, "there's others will." The line "HURRY UP PLEASE ITS TIME" is used again, reinforcing the importance of alcohol in the relationship. The woman's appearance is described as "antique," even though she is only thirty-one, and she attributes this to "them pills I took, to bring it off," a reference to abortion. As the next line notes of her previous children, "She's had five already," a testament to Albert's immense sexual appetite, which is discussed further when Eliot says Albert will not leave the woman alone. But Lil is asked, "What you get married for if you don't want children?" This line refers back to the fertility thread in the poem and the fact that modern sex is not always about procreation. The section ends with several more references to "HURRY UP PLEASE ITS TIME," showing that drinking has taken on more importance in the relationship than anything else. So, as with the first section, Eliot is showing the loss of meaning — in this case during sex, and through images of loveless sex — by showing that this is true for both the rich and the poor. Just as the king from Weston's book is wounded sexually, so is all of human society. It has lost the vitality and procreative focus of sex, and instead sex is a meaningless — and in the case of abortion, fruit-less — act.


Iii. the Fire Sermon


The third section also addresses sex. The title refers to one of Buddha's teachings about desire and the need to deny one's lustful tendencies. The images with which Eliot chooses to open this section underscore this idea of lovelessness. For example, "the last fingers of leaf / Clutch and sink into the wet bank." The dying vegetation is a sign of the death of fertility, as is the brown land and "The nymphs" who have departed. Also the fact that the river bears no litter, such as "empty bottles," "Silk handkerchiefs," or "cigarette ends," all of which are a "testimony of summer nights" — in other words, signs of a raucous party — the image of lifelessness is enhanced. There is no youthful passion anymore. This feeling of despair is noted further through such phrases as "A rat crept softly through the vegetation / Dragging its slimy belly on the bank." From here on, Eliot includes images and references to sex and death, including talking about "my father's death" and "White bodies naked on the low damp ground."
After a brief, four-line stanza in which he once again invokes the rape of Philomel, Eliot returns to the "Unreal City," the modern city, where he is propositioned by a "Mr. Eugenides" to have "luncheon at the Cannon Street Hotel / Followed by a weekend at the Metropole." These two locations, famous for clandestine meetings, indicate that Mr. Eugenides wants to have a homosexual affair with the poet.
Following this interlude, Eliot introduces the character of Tiresias, a mythological, prophetic figure who was turned into a hermaphrodite — indicated by the phrases "throbbing between two / lives" and "Old man with wrinkled female breasts." The fact that Tiresias is a prophet is important, since Tiresias can see the true nature of things. In Eliot's notes he calls this character the most important one in the poem. Tiresias witnesses a sex scene between a "typist home at teatime" and "A small house agent's clerk." The woman prepares food until the man arrives, and they eat. After the meal, "she is bored and tired," but he nevertheless starts to "engage her in caresses." Although these advances are "undesired," the woman makes no attempt to stop the man, so "he assaults at once," oblivious to the woman's "indifference." After the man leaves, "She turns and looks a moment in the glass / Hardly aware of her departed lover," her only thought being, "Well now that's done: and I'm glad it's over."
At this point Eliot includes a long montage of scenes from London interspersed with many literary references to failed relationships through the ages. The indented passage that begins with the line "The river sweats" invokes a Wagner poem that describes the downfall of ancient gods. The section concludes with a quotation from St. Augustine's Confessions: "O Lord Thou pluckest me out / O Lord Thou pluckest." St. Augustine was a noted lecher in the days before he embraced religion. This passage is placed directly before the last line of the section, "burning." This one-word line refers to the Buddhist sermon that gives the section its title, and which encourages men to douse the fires of lust.


Iv. Death by Water


The brief fourth section, the shortest of the five, starts off with a reference to "Phlebas the Phoenician," the dead sailor who was first mentioned in the second section. Eliot is again focusing on death, and in this section he gives a thorough de************************ion of the sailor's body being torn apart by the sea: "A current under sea / Picked his bones in whispers." The section ends with an address and warning to the reader to "Consider Phlebas, who was once handsome and tall / as you."
V. What the Thunder Said
The poem's final section builds on the images of death and sterility, but attempts to offer hope that these can be overcome, as they are overcome in the waste land of Weston's book. The title of the section is derived from an Indian fertility legend in which all beings — men, gods, and devils — find the power to restore life to the waste land by listening to what the thunder says. The section begins with a long discussion of Jesus Christ, "He who was living is now dead," which leads into scenes from Christ's journey to Emmaus following his resurrection, where he joins two disciples that do not recognize him: "Who is the third who walks always beside you?" one disciple asks the other.
Following the images of Christ, Eliot alludes to scenes of battle, "hooded hordes swarming / Over endless plains, stumbling in *****ed earth." The dry earth refers back to the waste land. Eliot includes more images of war and destruction, noting the "*****s and reforms and bursts in the violet air / Falling towers." The image is one of a castle being destroyed, and Eliot follows this image with a list of historical cities that were destroyed or that fell into ruin and decay: "Jerusalem Athens Alexandria / Vienna London." By including London at the end of this list, Eliot implies that the modern city is also falling into decay, a moral decay. From this de************************ion Eliot moves on to discuss "the empty chapel," a reference to the Chapel Perilous, which Weston's book describes as the final stage on the hero's quest to restore life to the waste land. At this point, "a damp gust" brings rain to the dry and *****ed land, and then the thunder speaks, "DA." According to the Indian legend, men, gods, and devils ask the thunder the same question, and each is given a different answer — give, sympathize, and control, respectively. After each response, Eliot includes several lines that respond to the thunder on these topics. Critics disagree on whether these responses are meant to be pessimistic or optimistic, but many feel they are Eliot's solution to restore life to the modern waste land.
In the last stanza of the poem, the Fisher King from Weston's book speaks: "I sat upon the shore / Fishing, with the arid plain behind me / Shall I at least set my lands in order?" The king wonders what the solution is, how he can bring life back to the waste land again. Eliot follows this passage with a line from an English nursery rhyme: "London Bridge is falling down falling down falling / down." These words take the work from the mythological world back to Europe, which also in Eliot's view is a waste land that is falling down. The poem ends with several phrases from different languages, which give a mixed message. Some discuss rebirth, while others discuss violence and death. The final line consists of the same words repeated three times, "Shantih shantih shantih," which Eliot and others have noted can loosely be translated as the peace which passes understanding, and which seems to be Eliot's final pronouncement — only through peace will humanity ultimately be able to restore its vitality.


Themes
Disillusionment

There are only two master themes in the poem, which in turn, generate many sub-themes. The first of these major themes is disillusionment, which Eliot indicates is the current state of affairs in modern society, especially the post – World War I Europe in which he lived. He illustrates this pervasive sense of disillusionment in several ways, the most notable of which are references to fertility rituals and joyless sex. First Eliot draws on the types of fertility legends discussed in Weston's and Frazer's books. For example, in the beginning of the first section, he uses an extended image of a decomposing corpse lying underground in winter, which "kept us warm, covering / Earth in forgetful snow, feeding / a little life with dried tubers." A tuber is the fleshy part of an underground stem, but here it is human flesh, feeding new plants. Human society is so disillusioned that it has undergone a moral death, an idea on which Eliot plays throughout the poem. In fact, in the second stanza Eliot offers a contrast to the first stanza, which at least offers "a little life." In the second stanza, however, the land is all "stony rubbish," where roots and branches do not grow, and "the dead tree gives no ****************ter," and there is "no sound of water."
Eliot also expresses disillusionment through episodes of joyless sex, such as through the example of Philomel, upon whom sex is forced. In fact Eliot employs a litany of joyless sexual situations, including the rich couple who would rather play chess than have sex, and the poor couple for whom sex becomes a way only of pleasing the husband, and even then, only if the wife has "a nice set" of teeth. There is no love in any of these unions, and in the case of the poor couple, the wife has started having abortions because she "nearly died of young George," one of her children. This purposeful killing of new life is another way Eliot shows how people are disillusioned regarding sex and how pro-creative power in many cases is lost. But perhaps the most prominent example of meaningless sex comes during the scene between the typist and the clerk. Following this joyless sexual encounter, in which the man satisfies his lust, he leaves the woman, who is "Hardly aware of her departed lover." Her indifference shows in her simple actions: "She smooths her hair with automatic hand, / And puts a record on the gramophone." Her hand, like the sex itself, is "automatic," without emotion, merely a routine act.


Restoration


The other major theme, restoration or rebirth, is the opposite of disillusionment. If modern society can somehow overcome its disillusionment, it will be restored back to a state in which life once again has meaning. This refers to the Fisher King myth from Weston's book. Yet throughout the poem, when this idea is referred to, it is generally handled in more subtle ways than the references that underscore the idea of disillusionment. For example, in the first section, "the hyacinth girl" speaks. Hyacinths are often associated with the idea of resurrection, which in the con**************** of this poem is looked at as the goal. But as soon as he introduces the idea, Eliot counters it with an image of disillusionment: "I could not / Speak, and my eyes failed, I was neither / Living nor dead, and I knew nothing." The idea of restoration, in the form of resurrection, is not explored in detail until the final section, with the introduction of Christ. The final section begins with talk of Christ's betrayal and death and of "The shouting and the crying" of Christ's followers at his death. With Christ's death, "We who were living are now dying." Lost without their savior, Christians feel morally dead. But all hope is not lost, for Christ is resurrected, and joins his disciples on the road. Unfortunately, just as with the blindness in the hyacinth girl passage, Christ's disciples do not recognize him. Ultimately, through his use of complicated and conflicting foreign quotations, Eliot ends his poem on this same noncommittal note. Restoration is possible, but so is disillusionment.


Style
Modernism


The most important aspect of the work, and the one that informs all others, is the literary movement to which it belongs, modernism, which this work helped define. Modernism is the broad term used to describe post – World War I literature that employs techniques Eliot uses in The Waste Land. These techniques, and all the techniques associated with modernist literature, expressed a rebellion against traditional literature, which was noted by its distinct forms and rules. For example, in traditional poetry, poets often sought uniformity in stanza length and meter. Those poets who could work within these sometimes challenging rules and still express themselves in a unique or moving way were considered good poets. But particularly after World War I, as literature and other art shifted from a traditional, romantic, or idealized, approach to an approach that emphasized gritty realism full of discontinuity and despair, artists began to experiment with nontraditional forms, ideas, and styles.
Disillusioned by the war, artists and writers such as Eliot rebelled against the logical, traditional thinking — which they believed helped start and escalate the war. Eliot's poem, in all of its complexity and obscurity, was like a catalog of modernist poetic techniques, including free verse, odd stanza lengths, snatches of dialogue, quotations from other works, phrases from other languages, indistinct transitions, conflicting ideologies such as Christianity and paganism, frank discussions and depictions of sexuality — and the list goes on. Each of these devices ran counter to the traditional. Collectively, as many critics have noted, the staggering modernistic effect of this one work set off a bomb in the public consciousness.

[mesho ~]

Themes
The Difficulty of English-Indian Friendship
A Passage to India begins and ends by posing the question of whether it is possible for an Englishman and an Indian to ever be friends, at least within the con**************** of British colonialism. Forster uses this question as a framework to explore the general issue of Britain’s political control of India on a more personal level, through the friendship between Aziz and Fielding. At the beginning of the novel, Aziz is scornful of the English, wishing only to consider them comically or ignore them completely. Yet the intuitive connection Aziz feels with Mrs. Moore in the mosque opens him to the possibility of friendship with Fielding. Through the first half of the novel, Fielding and Aziz represent a positive model of liberal humanism: Forster suggests that British rule in India could be successful and respectful if only English and Indians treated each other as Fielding and Aziz treat each other—as worthy individuals who connect through frankness, intelligence, and good will.
Yet in the aftermath of the novel’s climax—Adela’s accusation that Aziz attempted to assault her and her subsequent disavowal of this accusation at the trial—Aziz and Fielding’s friendship falls apart. The strains on their relationship are external in nature, as Aziz and Fielding both suffer from the tendencies of their cultures. Aziz tends to let his imagination run away with him and to let suspicion harden into a grudge. Fielding suffers from an English literalism and rationalism that blind him to Aziz’s true feelings and make Fielding too stilted to reach out to Aziz through conversations or letters. Furthermore, their respective Indian and English communities pull them apart through their mutual stereotyping. As we see at the end of the novel, even the landscape of India seems to oppress their friendship. Forster’s final vision of the possibility of English-Indian friendship is a pessimistic one, yet it is qualified by the possibility of friendship on English soil, or after the liberation of India. As the landscape itself seems to imply at the end of the novel, such a friendship may be possible eventually, but “not yet.”

The Unity of All Living Things

Though the main characters of A Passage to India are generally Christian or Muslim, Hinduism also plays a large thematic role in the novel. The aspect of Hinduism with which Forster is particularly concerned is the religion’s ideal of all living things, from the lowliest to the highest, united in love as one. This vision of the universe appears to offer redemption to India through mysticism, as individual differences disappear into a peaceful collectivity that does not recognize hierarchies. Individual blame and intrigue is forgone in favor of attention to higher, spiritual matters. Professor Godbole, the most visible Hindu in the novel, is Forster’s mouthpiece for this idea of the unity of all living things. Godbole alone remains aloof from the drama of the plot, refraining from taking sides by recognizing that all are implicated in the evil of Marabar. Mrs. Moore, also, shows openness to this aspect of Hinduism. Though she is a Christian, her experience of India has made her dissatisfied with what she perceives as the smallness of Christianity. Mrs. Moore appears to feel a great sense of connection with all living creatures, as evidenced by her respect for the wasp in her bedroom.
Yet, through Mrs. Moore, Forster also shows that the vision of the oneness of all living things can be terrifying. As we see in Mrs. Moore’s experience with the echo that negates everything into “boum” in Marabar, such oneness provides unity but also makes all elements of the universe one and the same—a realization that, it is implied, ultimately kills Mrs. Moore. Godbole is not troubled by the idea that negation is an inevitable result when all things come together as one. Mrs. Moore, however, loses interest in the world of relationships after envisioning this lack of distinctions as a horror. Moreover, though Forster generally endorses the Hindu idea of the oneness of all living things, he also suggests that there may be inherent problems with it. Even Godbole, for example, seems to recognize that something—if only a stone—must be left out of the vision of oneness if the vision is to cohere. This problem of exclusion is, in a sense, merely another manifestation of the individual difference and hierarchy that Hinduism promises to overcome.

The “Muddle” of India

Forster takes great care to strike a distinction between the ideas of “muddle” and “mystery” in A Passage to India. “Muddle” has connotations of dangerous and disorienting disorder, whereas “mystery” suggests a mystical, orderly plan by a spiritual force that is greater than man. Fielding, who acts as Forster’s primary mouthpiece in the novel, admits that India is a “muddle,” while figures such as Mrs. Moore and Godbole view India as a mystery. The muddle that is India in the novel appears to work from the ground up: the very landscape and architecture of the countryside is formless, and the natural life of plants and animals defies identification. This muddled quality to the environment is mirrored in the makeup of India’s native population, which is mixed into a muddle of different religious, ethnic, linguistic, and regional groups.
The muddle of India disorients Adela the most; indeed, the events at the Marabar Caves that trouble her so much can be seen as a manifestation of this muddle. By the end of the novel, we are still not sure what actually has happened in the caves. Forster suggests that Adela’s feelings about Ronny become externalized and muddled in the caves, and that she suddenly experiences these feelings as something outside of her. The muddle of India also affects Aziz and Fielding’s friendship, as their good intentions are derailed by the chaos of cross-cultural signals.

Though Forster is sympathetic to India and Indians in the novel, his overwhelming depiction of India as a muddle matches the manner in which many Western writers of his day treated the East in their works. As the noted critic Edward Said has pointed out, these authors’ “orientalizing” of the East made Western logic and capability appear self-evident, and, by extension, portrayed
the West’s domination of the East as reasonable or even necessary.

The Negligence of British Colonial Government
Though A Passage to India is in many ways a highly symbolic, or even mystical, ****************, it also aims to be a realistic ********************************ation of the attitudes of British colonial officials in India. Forster spends large sections of the novel characterizing different typical attitudes the English hold toward the Indians whom they control. Forster’s satire is most harsh toward Englishwomen, whom the author depicts as overwhelmingly racist, self-righteous, and viciously condescending to the native population. Some of the Englishmen in the novel are as nasty as the women, but Forster more often identifies Englishmen as men who, though condescending and unable to relate to Indians on an individual level, are largely well-meaning and invested in their jobs. For all Forster’s criticism of the British manner of governing India, however, he does not appear to question the right of the British Empire to rule India. He suggests that the British would be well served by becoming kinder and more sympathetic to the Indians with whom they live, but he does not suggest that the British should abandon India outright. Even this lesser critique is never overtly stated in the novel, but implied through biting satire.


Motifs

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the ****************’s major themes.

The Echo

The echo begins at the Marabar Caves: first Mrs. Moore and then Adela hear the echo and are
haunted by it in the weeks to come. The echo’s sound is “boum”—a sound it returns regardless of what noise or utterance is originally made. This negation of difference embodies the frightening flip side of the seemingly positive Hindu vision of the oneness and unity of all living things. If all people and things become the same thing, then no distinction can be made between good and evil. No value system can exist. The echo plagues Mrs. Moore until her death, causing her to abandon her beliefs and cease to care about human relationships. Adela, however, ultimately escapes the echo by using its message of impersonality to help her realize Aziz’s innocence.

Eastern and Western Architecture

Forster spends time detailing both Eastern and Western architecture in A Passage to India. Three architectural structures—though one is naturally occurring—provide the outline for the book’s three sections, “Mosque,” “Caves,” and “Temple.” Forster presents the aesthetics of Eastern and Western structures as indicative of the differences of the respective cultures as a whole. In India, architecture is confused and formless: interiors blend into exterior gardens, earth and buildings compete with each other, and structures appear unfinished or drab. As such, Indian architecture mirrors the muddle of India itself and what Forster sees as the Indians’ characteristic inattention to form and logic. Occasionally, however, Forster takes a positive view of Indian architecture. The mosque in Part I and temple in Part III represent the promise of Indian openness, mysticism, and friendship. Western architecture, meanwhile, is described during Fielding’s stop in Venice on his way to England. Venice’s structures, which Fielding sees as representative of Western architecture in general, honor form and proportion and complement the earth on which they are built. Fielding reads in this architecture the self-evident correctness of Western reason—an order that, he laments, his Indian friends would not recognize or appreciate.

Godbole’s Song

At the end of Fielding’s tea party, Godbole sings for the English visitors a Hindu song, in which a milkmaid pleads for God to come to her or to her people. The song’s refrain of “Come! come” recurs throughout A Passage to India, mirroring the appeal for the entire country of salvation from something greater than itself. After the song, Godbole admits that God never comes to the milkmaid. The song greatly disheartens Mrs. Moore, setting the stage for her later spiritual apathy, her simultaneous awareness of a spiritual presence and lack of confidence in spiritualism as a redeeming force. Godbole seemingly intends his song as a message or lesson that recognition of the potential existence of a God figure can bring the world together and erode differences—after all, Godbole himself sings the part of a young milkmaid. Forster uses the refrain of Godbole’s song, “Come! come,” to suggest that India’s redemption is yet to come.

Symbols

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

The Marabar Caves

The Marabar Caves represent all that is alien about nature. The caves are older than anything else on the earth and embody nothingness and emptiness—a literal void in the earth. They defy both English and Indians to act as guides to them, and their strange beauty and menace unsettles visitors. The caves’ alien quality also has the power to make visitors such as Mrs. Moore and Adela confront parts of themselves or the universe that they have not previously recognized. The all-reducing echo of the caves causes Mrs. Moore to see the darker side of her spirituality—a waning commitment to the world of relationships and a growing ambivalence about God. Adela confronts the shame and embarrassment of her realization that she and Ronny are not actually attracted to each other, and that she might be attracted to no one. In this sense, the caves both destroy meaning, in reducing all utterances to the same sound, and expose or narrate the unspeakable, the aspects of the universe that the caves’ visitors have not yet considered.

The Green Bird

Just after Adela and Ronny agree for the first time, in Chapter VII, to break off their engagement, they notice a green bird sitting in the tree above them. Neither of them can positively identify the bird. For Adela, the bird symbolizes the unidentifiable quality of all of India: just when she thinks she can understand any aspect of India, that aspect changes or disappears. In this sense, the green bird symbolizes the muddle of India. In another capacity, the bird points to a different tension between the English and Indians. The English are obsessed with knowledge, literalness, and naming, and they use these tools as a means of gaining and maintaining power. The Indians, in contrast, are more attentive to nuance, undertone, and the emotions behind words. While the English insist on labeling things, the Indians recognize that labels can blind one to important details and differences. The unidentifiable green bird suggests the incompatibility of the English obsession with classification and order with the shifting quality of India itself—the land is, in fact, a “hundred Indias” that defy labeling and understanding.

The Wasp

The wasp appears several times in A Passage to India, usually in conjunction with the Hindu vision of the oneness of all living things. The wasp is usually depicted as the lowest creature the Hindus incorporate into their vision of universal unity. Mrs. Moore is closely associated with the wasp, as she finds one in her room and is gently appreciative of it. Her peaceful regard for the wasp signifies her own openness to the Hindu idea of collectivity, and to the mysticism and indefinable quality of India in general. However, as the wasp is the lowest creature that the Hindus visualize, it also represents the limits of the Hindu vision. The vision is not a panacea, but merely a possibility for unity and understanding in India.

[mesho ~]

poetry resarch are after the vacation so focuse on your exams

ang good luck:g8:

[mesho ~]

In the prose exam there will be true and falts , short notes

and maybe a con-tex-t (it won't right the word any other way)) question.

The last lectur we took about the articles are not included in the exams ..

:love080:

[J A M I L A H]

Allah Bless U

:119:

[mesho ~]

thanx dear :love080:

[Dark.Angel]

هاااي ياصبايا<<ترونها خاشه عرض مو سنه رابع:cheese:
بس حبيت اقول بالتووفيق ياارب وشدوا حيلكم<مسويه فيها
يالله متى اصير سنه رابع:praying:<<ياحليلها:hahahahahah::hahahahahah:

:cheese:

[moon2]

هااااي بنات كيفكم وكيف الاختبارات معاكم ؟

الله يوفقكم ان شاء الله وييسر لكم


ياليت تعطوني اسم الروايات والمسرحيات اللي معانا

لأني طالبة انتساب

وكيف الترم هذا ان شاء الله احلى من الترم الاول؟:g2:

انتظركم :g4:

[mesho ~]

dark angel

thanx dear >> ameeeen

good luck to yoy to :g8:

[mesho ~]

moon 2
prose:

passage to india

2- the heart of darkness

drama

the family reunion

[mesho ~]

History exam is dealayed

so haaaaave fun today girls :g20:

[moon2]

thaaaaanx alot meshoo

[Wabel]

مرحبا بنات... عندكم فكره متى تاريخ الامتحانات النهائيه

وبالنسبه لمادة الدكتوره ساميه الهاجري انا ما لقيت لها ملزمه في التصوير.. كيف درستوا في med term ؟!؟

يعطيكم العافيه.. موفقين إن شاء الله

[moon2]

مرحبا تاريخ الامتحانات النهائية 29-6
وبالنسبه لمادة سامية الهاجري اي ماده بالضبط لأني انتساب وما اعرف اسماء الاستاذات كويس

[كيلو تناحة]

سامية الهاجري بتاعة العربي ياموووووون 2 أعرفيهم كويس بتتخرجين الحين وأنتي ماعرفتيهم؟؟؟؟
ومحاظراتها تنقلنا بالكلاس يعني مافيش منهج بالتصوير وفيه المحاظرات الخمس الآوائل سووهم النات باور بوينت بس سوري معرفش أنزلهم بالمنتدى ...!!!!!!!!!
أتوقع لو تطلبينهم بالمنتدى بشكل صريح بعنوان لوحده يمكن أحد يعرف وينزلهم ،،
بالتوفيييييييييييييييييييق ...
للإنتساب والإنتظام...!!

[moon2]

سامية الهاجري بتاعة العربي ياموووووون 2 أعرفيهم كويس بتتخرجين الحين وأنتي ماعرفتيهم؟؟؟؟
ومحاظراتها تنقلنا بالكلاس يعني مافيش منهج بالتصوير وفيه المحاظرات الخمس الآوائل سووهم النات باور بوينت بس سوري معرفش أنزلهم بالمنتدى ...!!!!!!!!!
أتوقع لو تطلبينهم بالمنتدى بشكل صريح بعنوان لوحده يمكن أحد يعرف وينزلهم ،،
بالتوفيييييييييييييييييييق ...
للإنتساب والإنتظام...!!

:g2: اسفه ياخجي توني اعرف انها بتاعة العربي

:017:وبعدين مستحيل احفظ الاسماء انا عارفه نفسي

عساني احفظ هالملازم اللي عندي

:Cry111: الله يستر
:praying: ياااااااااارب نتخرج من دون مواااااد يااااااااااارب

wabel

كيفك مع الانتساب ؟ هل حملتي مواد الترم الاول؟

وايش ذاكرتي من المواد

[Wabel]

moon2
حملت وبس!!!!! انا بعيد السنه!!! اول سنه تمر علي بالشكل التعيس هذا
الله يصبرني واطلع منها على خير السنه الجايه إن شاء الله..

موفقين إن شاء الله

[moon2]

بنااااااااااااااااااات بليز اسدحو جدول الاختبارات النهائيه هنااااااااا

[الراحة بالجنة]

يحظكم يا سنة رابعة .... الله يسهل عليكم ويخرجكم من هالكلية بسلاااااام ...
وييسر لنا بعد يآاارب ....
موفقيــــــــــــــــــــــن ...

[كيلو تناحة]

يحظكم يا سنة رابعة .... الله يسهل عليكم ويخرجكم من هالكلية بسلاااااام ...
وييسر لنا بعد يآاارب ....
موفقيــــــــــــــــــــــن ...


ياشيخة أذكري الله وش تبينا نغرز بعد لا أرجوووووووووووووووووك طلعت أرواحنا على ماوصلنا ...
والعقبى لكم اللي دخلنا بزارين للمدارس ومراهقين بمتوسط وثانوي ويازعم كبار بالكلية يقدر يسويها لكم..
بس شدوا حيلكم وبتمر ..
والله ييسر..ويوفق ويرحمنا برحمته وإياكم...!!!!!!!<وحدة منتهية على آخر رمق

[كيلو تناحة]

بنااااااااااااااااااات بليز اسدحو جدول الاختبارات النهائيه هنااااااااا


أسدحيه أنتي خخخخخ

[Wabel]

لو سمحتوا بنات إللي عندها جدول الاختبارات يا ليت تنزله لنا

شكرا

[كيلو تناحة]

لو سمحتوا بنات إللي عندها جدول الاختبارات يا ليت تنزله لنا

شكرا
أبشري

دراما
ترجمة
حضارة
عربي
لغويات
نثر
مقال
هستوري
ثقافة صحية
شعر
نقد


تأكدي منه لكن الأسبوع الأول شور

[Wabel]

مشكوره كيلو تناحه :-)

باللنسبه لمادة د. ساميه النقد العربي الحديث

الكل يقول انه ما فيه ملزمه وانها تنقل الطالبات

طيب الانتساب إللي مثلي ما فيه مجال انه وحده من البنات تجيب لي دفترها السبت واصوره وارجعه لها وهي واقفه معي؟ ما راح اخذه معي

[كيلو تناحة]

والله ياوابل توني أشوف الرد ولو شايفته بجيب لك دفتري وتصورينه بس يالله إن شاء الله تيسرت لك....
والله يوفقك..

[Miss.Golden]

يعطيكم العافيه بنات

بما انكم على ابواب التخرج ... الله لا يهنيكم تكتبون لنا اسماء الروايات والكتب اللي اخذتوها هالسنة
لاني سنة ثالثه الحين والسنة الجاية رابعه ان شاءالله


وطلب ثاني ... بعدين طبعا مو الحين
في الاجازة اذا عندكم اوراق محاضرات _تفريغ أقصد _ نستفيد منها ونقراها
تنزلوها في موضوع خاص

جعله في موازين اعمالكم دنيا واخره
ومبروووك التخرج مقدما للجميع


أطيب الأمنيات

[Stella]

اذا ممكن يابنات رابع نبغى اسماء كتبكم الروايات والمسرحيات

ع الأقل اسماء الكتاب وعن اي سنشري تدرسون بالضبط

الله يوفقكم جميعا ^^

[Gladiolus]

اهلين بنات سنه رابعه :cheese:

بس بسالكم بما انكم اخر سنه

كيف قسمكم حلو صعب ولا ايش

وحده من رابع قالت انها ندماااانه انها دخلته

خوفتنييي

بس ياليت احد يرد علي ويقولي وشصعوبات هالقسم كلموني عنه

اخذت راي بنات ثاني وثالث وماقصروا وابي رايكم

[يآرب آتخرج]

مرحبآ @جلاديولاس@

شوفي حبيبي حطي ببآلك مافي قسم آصعب من الثاني كلهم نفس المسستوى

بس قسم آلآنقليش يحتآج ( آجتهـــآد طول السسسنه )

يعنني آول بأول مذاكره + تشتغلين بالسنه الاول على لغتك !

آلكل لمآ يدخل أنقليش لغته تكون موش ولآ بد بس بسنه آول وثآنيه تآخذين كورسآت محآدثه وقرمر رآح تعلمك الكثير لكن آلآهم !!

تكون عندك آرآآده وتشتغلين حيل على لغتك

ونصيحتي لك آذا تحبين الانقليش آدخليه ..

أتمنى آكون آفدتك ولو بشي بسسيط ..

وموفقه يآحلوهـ .. وآدعي لي آتخرج

[Gladiolus]

ايوه انا ودي فيه بس متخوفه منه

ربي يعطيك العافيه

انا كذا قلت وربي تحمست للانجليزي

الله يوفقك ويسعدك وين ماتكونين ياااارب وان شاء الله تتخرجييين يااااارب اللهم اميييييييييين

[روح المسك]

good luck

[كيلو تناحة]

جلاديولاس:
اللي خوفتك من القسم عطيها طراقين بالنيابة عني أنا كيلو تناحة ...
وبعدين مافيش حاجة سهلة كلو يبي شدة حيل وبالعكس لمن تدرسينه بتمشين في أشياء كثير ماراح توقفين ولاتعلقين عند سوق ..مستشفى .. موقع.. ..ألخ..
إذا تحبينه أدخلي ....
واللي طلبوا المسرحيات بحاول أتذكر حقين السمستر الأول لأني أحس نسيييييت كل شيء.. وبرد خبر لو بعد فترة..سامحوني الحين..بحس أني معطلة!!!!


كيلو تناحة..بتحبكوو..

[Gladiolus]

ههههههه يوووصل

ان شاء الله

جد كل كلامكم كذا عشان كذا تحمست للقسم كثيييير


ربي يسعدك وينجحك انتي والبنوتات ياااارب

[Stella]

واللي طلبوا المسرحيات بحاول أتذكر حقين السمستر الأول لأني أحس نسيييييت كل شيء.. وبرد خبر لو بعد فترة..سامحوني الحين..بحس أني معطلة!!!!


اوكي ياقلبي خوذي يور تايم .. بس لاتطنشينا ..

[كيلو تناحة]

اوكي ياقلبي خوذي يور تايم .. بس لاتطنشينا ..
أفاااااا أطنشكم ..!!! وشلون تصير وأنا تنووووووحة ..أبد أبد..

والدليل ها ...
1st semester
drama
the master builder
pygmalion

prose
the portrait of a lady
mrs dalloway



2nd semesteer
drama
endgame
The Family Reunion

prose
a passage to India
the heart of darkness




هاه وش رايك؟؟ ياستلا!!!
تكفووووووووووووووووووووووووون أدعوا لي ،،،،
:
:
:

كيلو تناحة!!!!

[عسولة الشرقية]

بناااااااااااااااااااااااااااااااااات صدقه لوجه الله


اي وحده متخرجه ولا ودها تشوف كتب الكولج قدام عيونها



تتبرع فيها لي



خصوصا كتاب الشعر


موفقين يارب

[عسولة الشرقية]

اي شيسمونه بعد


حتى لو عندكم كتب لسنه ثالث ما اقول لا

[honey eyes]

سلااااام

بليز كيلو تناحة او اي وحدة من سنه رابعة تمر

حابه اعرف ايش نوع الترجمة اللي اخذتوها بسنة رابعة ؟؟
؟ ترجمة طبية , ادبية, تجارية ... الخ ؟؟ ايش بالظبط ؟؟؟؟

يااااااااارب احد يرد !!

موفقييــــــــــن ..

[كيلو تناحة]

سلااااام

بليز كيلو تناحة او اي وحدة من سنه رابعة تمر

حابه اعرف ايش نوع الترجمة اللي اخذتوها بسنة رابعة ؟؟
؟ ترجمة طبية , ادبية, تجارية ... الخ ؟؟ ايش بالظبط ؟؟؟؟

يااااااااارب احد يرد !!

موفقييــــــــــن ..
hellllllllllllo
الترجمة أتوقع تعتمد على الدكتورة بس أحنا الترم الأول والثاني نفس الشي أعتمدنا الكورس مكس بين دينية وقرآن واحاديث وأدبية من قصص وشبهه والترم الثاني نفس الشيء..
وحطي في بالك أحسن من درس ترجمة د.سلوى الوفائي..
بالتوفيق..
دعوااااااااااتكم لي تكفون ...

[يآرب آتخرج]

مرحبا بنات الله يعافيكم آلي عندها جدول الحمل للفرقه الرابعه قسم انقليش تنزله هنا

اول تقول لنا متى بينزل بالكليه بليزز :(

[غـداً يوم آخر]

خيتي شوفي هذا الرآآبط


http://www.ckfu.org/vb/t82533.html (http://www.ckfu.org/vb/t82533.html)

[honey eyes]

hellllllllllllo
الترجمة أتوقع تعتمد على الدكتورة بس أحنا الترم الأول والثاني نفس الشي أعتمدنا الكورس مكس بين دينية وقرآن واحاديث وأدبية من قصص وشبهه والترم الثاني نفس الشيء..
وحطي في بالك أحسن من درس ترجمة د.سلوى الوفائي..
بالتوفيق..
دعوااااااااااتكم لي تكفون ...

تسلمييييييييييين حبووبة ماقصرتي :love080:

و د.سلوى ماعليها كلام عسسسسل:love080:
شكرااً مره ثانية ع الرد و
الله يوفقك ان شاءالله وين ماتكونين :love080:
ويحقق لك كل اللي في بالك :119:

[Little Angel]

يعطيك الف الف عافية كيلو تناحة
الله يوفقك ان شاالله

[Little Angel]

بنات الله يعافيكم ايش الكتب اللي درستوهم بالحضارة وتاريخ اللغة ؟؟والا مافي كتب لهم؟؟

[كيلو تناحة]

بنات الله يعافيكم ايش الكتب اللي درستوهم بالحضارة وتاريخ اللغة ؟؟والا مافي كتب لهم؟؟
الحضارة مالها كتاب والتاريخ فيه ملازم بالتصوير مع كتاب بس ماستخدمناه كثير،،

[ستيودنته =)]

بنات سنه رابعه وش كنتم تدرسون بمادة الحضاره وتاريخ اللغه ....؟ يعني كيف المنهج مثل الهيستوري واللينقوستيك؟

ومن الأفضل

د.حصه ولا د. فوزيه
بالشعر

ود.نجلا ولا هيفاء بالنقد


؟؟

[honey eyes]

بنات سنه رابعه وش كنتم تدرسون بمادة الحضاره وتاريخ اللغه ....؟ يعني كيف المنهج مثل الهيستوري واللينقوستيك؟

ومن الأفضل

د.حصه ولا د. فوزيه
بالشعر

ود.نجلا ولا هيفاء بالنقد


؟؟

هلا
انا مو سنه رابعة طالعه لها بس عندي معلومة صغيرونة عن تاريخ اللغة
اللي اعرفه عنه انه تدرسين اصل اللغة الأنجليزية ومن وين جايه وتطوراتها وعصورها وخرابيطها ومدري ايش
وكيف كانت استعمالاتها وتغيراتها وحاجات زي كذه هذا اللي اعرفه
بس اكيد صاحبات الخبرات بيفيدوك اكثر

ومثل ماقالت يبنات بليز قولو لنا من احسن بالشعر
مع اني عارفه الأجابة !!
كل وحدة فيهم تغني الزوود عندي وانا ازين :hahahahahah:
يعني لو حاطين بس حصه حلو
ولو حاطين بس فوززية هم حلو
ع الأقل مافيها حيره >> لان هيه خاربه خاربه :hahahahahah:
بس المشكلة انهم محيرينا
انا اقول احسن شي اسحب ع المادة واريح باااالي :hahahahahah:

[عسولة الشرقية]

بنااااات الله يعافيكم الي عندها كتب ثالث ولا تبيهم


تتبرعلي فيهم وباكون لها شاكره