•• {{ 2nd year English students cafe ««

[ǎήǎ`ήổήǎ *_*]

السلام عليكم هلا بنات ..

أنا اليوم سألت د- أمل عن الإختبار قالت اكسرسايز شبيه بالي بالكتاب .. وزي ماقلت لكم بالمحاضره >>> الشرح الي كتبته عسولة ..

وبنات لا تنسون القرمرات >> القاعدات البسيطه الي كتبناها مع مس هيفا ..


بالتوفيق ياارب تكون الإختبارات الجايه احسن من الي فاتت ياااارب ...


ياااارب توفقنا وتنجحنا وتكتب لنا الخير وين ماكان ياااارب ,,

[luly]

Main Characters

Satan - Head of the rebellious angels who have just fallen from Heaven. As the poem’s antagonist, Satan is the originator of sin—the first to be ungrateful for God the Father’s blessings. He embarks on a mission to Earth that eventually leads to the fall of Adam and Eve, but also worsens his eternal punishment. His character changes throughout the poem. Satan often appears to speak rationally and persuasively, but later in the poem we see the inconsistency and irrationality of his thoughts. He can assume any form, adopting both glorious and humble shapes.
Read an in-depth analysis of Satan.

Adam - The first human, the father of our race, and, along with his wife Eve, the caretaker of the Garden of Eden. Adam is grateful and obedient to God, but falls from grace when Eve convinces him to join her in the sin of eating from the Tree of Knowledge.
Read an in-depth analysis of Adam.

Eve - The first woman and the mother of mankind. Eve was made from a rib taken from Adam’s side. Because she was made from Adam and for Adam, she is subservient to him. She is also weaker than Adam, so Satan focuses his powers of temptation on her. He succeeds in getting her to eat the fruit of the forbidden tree despite God’s command.
Read an in-depth analysis of Eve.

God the Father - One part of the Christian Trinity. God the Father creates the world by means of God the Son, creating Adam and Eve last. He foresees the fall of mankind through them. He does not prevent their fall, in order to preserve their free will, but he does allow his Son to atone for their sins.
God the Son - Jesus Christ, the second part of the Trinity. He delivers the fatal blow to Satan’s forces, sending them down into Hell, before the creation of Earth. When the fall of man is predicted, He offers himself as a sacrifice to pay for the sins of mankind, so that God the Father can be both just and merciful.
Devils, Inhabiting Hell
Beelzebub - Satan’s second-in-command. Beelzebub discusses with Satan their options after being cast into Hell, and at the debate suggests that they investigate the newly created Earth. He and Satan embody perverted reason, since they are both eloquent and rational but use their talents for wholly corrupt ends.
Belial - One of the principal devils in Hell. Belial argues against further war with Heaven, but he does so because he is an embodiment of sloth and inactivity, not for any good reason. His eloquence and learning is great, and he is able to persuade many of the devils with his faulty reasoning.

Mammon - A devil known in the Bible as the epitome of wealth. Mammon always walks hunched over, as if he is searching the ground for valuables. In the debate among the devils, he argues against war, seeing no profit to be gained from it. He believes Hell can be improved by mining the gems and minerals they find there.
Mulciber - The devil who builds Pandemonium, Satan’s palace in Hell. Mulciber’s character is based on a Greek mythological figure known for being a poor architect, but in Milton’s poem he is one of the most productive and skilled devils in Hell.
Moloch - A rash, irrational, and murderous devil. Moloch argues in Pandemonium that the devils should engage in another full war against God and his servant angels.

Sin - Satan’s daughter, who sprang full-formed from Satan’s head when he was still in Heaven. Sin has the shape of a woman above the waist, that of a serpent below, and her middle is ringed about with Hell Hounds, who periodically burrow into her womb and gnaw her entrails. She guards the gates of Hell.

Death - Satan’s son by his daughter, Sin. Death in turn rapes his mother, begetting the mass of beasts that torment her lower half. The relations between Death, Sin, and Satan mimic horribly those of the Holy Trinity.
Angels, Inhabiting Heaven and Earth
Gabriel - One of the archangels of Heaven, who acts as a guard at the Garden of Eden. Gabriel confronts Satan after his angels find Satan whispering to Eve in the Garden.
Raphael - One of the archangels in Heaven, who acts as one of God’s messengers. Raphael informs Adam of Satan’s plot to seduce them into sin, and also narrates the story of the fallen angels, as well as the fall of Satan.

Uriel - An angel who guards the planet earth. Uriel is the angel whom Satan tricks when he is disguised as a cherub. Uriel, as a good angel and guardian, tries to correct his error by making the other angels aware of Satan’s presence.

Abdiel - An angel who at first considers joining Satan in rebellion but argues against Satan and the rebel angels and returns to God. His character demonstrates the power of repentance.
Michael - The chief of the archangels, Michael leads the angelic forces against Satan and his followers in the battle in Heaven, before the Son provides the decisive advantage. Michael also stands guard at the Gate of Heaven, and narrates the future of the world to Adam in Books XI and XII

[عسولة الشرقية]

اس انجل انا احووووووووووووووووووووووبك<---- بغيت اكتب اسمك بدال اس انجل

[luly]

FROM : http://www.exampleessays.com/viewpaper/15280.html

Andrew Marvel A Dialogue between the soul and body
In “A Dialogue between the Soul and Body” Andrew Marvell portrays the battle that is waged in every man between his fleshly desires and his spiritual side. Although the soul and the body are mutually dependent, they are not portrayed as a harmonious team but as bitter enemies locked in an anguished debate. The body resents the control of the soul and the soul feels constrained by the body. The clever use of imagery and personification within the illusion of a debate powerfully communicates the unique frustration and anguish experienced by the combatants in this irresolvable conflict.

The opposing arguments are organised into a profoundly patterned poem. The poem is patterned into four stanzas containing end line rhyming couplets. With each line made up of eight syllables featuring mainly strong or masculine end line rhymes. The first three stanzas are made up of five couplets and begin with a rhetorical question, a device commonly used in debating. The opposing arguments are put forward in paired stanzas adding to the impression of a debate. The use of personification, by giving a voice to the soul and the body, dramatically strengthens this impression. The fourth stanza, made up of seven couplets, challenges the



The soul’s frustration at being confined is very skillfully conveyed by using the fleshly aspects of the body to portray its spiritual constraint. The soul cries “With bolts of Bones, that fetter’d stands / In feet; and manacled in Hands”. Things that are very enabling for the body, feet for mobility and hands for touch, are described by the soul as very constraining and a cause of its suffering. The other devices used to constrain the soul are also fleshly parts of the body.

The first two stanzas are paired with the opposing arguments concerning physical aspects and offer a ****************phorical de************************ion of each one’s suffering. The soul has been given the first opportunity to put forward its argument and asks its rhetorical question “O, Who shall from this dungeon raise / A soul enslaved so many ways?” REF Powerful imagery is used in the remainder of the stanza to convey the soul’s feelings of imprisonment and torture. The use of the words dungeon, inslaved,fettered, manacled, chains and tortured creates an explicit image of suffering. When the body speaks it opposes the soul with it s own rhetorical question “ O, Who shall me deliver whole, / From bonds of this tyrannic soul?” REF The image of the body being controlled by the soul is cleverly illustrated with the assistance of words like deliver,bonds,tyrannic, impales and precipice.. The opposing arguments put forward by the soul and the body in the first two stanzas clearly indicate the contrast between the senses and desires of the flesh and the spirit. The suffering experienced by each during their struggle is expressed using strong physical imagery.

READ ALSO

FROM: http://www.crossref-it.info/********...l-Poetry/4/275

The dialogue form

The dialogue is a form of poetry which is not often used. However, Marvell did write several: A Dialogue between the Resolved Soul and Created Pleasure; Clorinda and Damon; A****************s and Thestylis are other examples, the first like this one, a moral debate; the other two, pastoral poems with some religious significance. It is best to see this dialogue as being like a first class cricket match. Both sides get two innings, alternately. At the end, we have to declare the match drawn. Marvell, though clearly favoring the Soul, does not give either side the match-winning argument.
Soul says

The soul opens the batting with a powerful complaint: it is not only being imprisoned in the body, but tortured by it. The image of the soul being imprisoned is typically Platonic. Its move is to escape through the death of the body. Marvell plays with several parts of this extended conceit: ‘blinded with an Eye’ makes a nice paradox. The organs of sense blind (and bind) the soul to heaven, keeping it bound to sense impressions. Blinding was a common form of torture, as was constant sound. The worst part is ‘a vain head’, meaning stuffed with idle, fruitless thoughts, and a ‘double Heart’, because divided.
Body replies

The body is not too well pleased with this onslaught, and accuses the soul of driving it around, when all it wants is a quiet life. It even has to get up and walk upright! (‘mine own Precipice I go’). The soul makes it restless with its own restlessness. It feels possessed by ‘this ill spirit’.
Soul’s response

The soul's response is to enlarge on the ‘double Heart’. It has its own grief through being trapped in the body and has to bear the body's grief as well. We might say in modern terms, the soul here is both the psychology and the spirituality of human existence: the psychology derives from the body; the spirituality, from its heavenly origins. Left to itself, it would escape the body by letting it die; but the body's concern is to keep itself alive, and the soul is forced to help it do that. Again, Marvell makes the most of this paradox in his imagery: ‘Shipwreck into health again’; ‘what worse, the cure’.
Body concludes

The body is allowed its second innings. It lists the psychological suffering the soul forces on it through hope, fear, love, hatred and so on. The list goes on through the whole stanza. It climaxes with the paradox:
What but a Soul could have the wit
To build me up for Sin so fit?
Only the soul has given it the consciousness of sin. Left to itself, it would live like the animals in instinctive, undifferentiated being. The final image is one that Marvell was to take up several times in his ‘Mower’ poems: the body is like an undifferentiated tree growing naturally; the soul like an architect (or topiary gardener, as we might say), which trims and prunes it into all kinds of outlandish and unnatural shapes.
The key question

The final question is a real dilemma, then: Marvell has been working slowly towards it. Do human beings live ‘as Nature intended’, however shapeless that life might be morally or intellectually? Or do we raise ourselves through, allowing our ‘souls’ or spirits to restrain and shape our lives according to some overall design? Marvell does not push through to the soul's early conclusion: its wish for death as escape. He recognises life is something that has to be accepted, however problematic it is.
Investigating A Dialogue between Soul and Body

• Read through A Dialogue between the Soul and Body
  • Pick out some of the images and work them out
• Compare Marvell's Platonism here with that of Vaughan in his Ascension - Hymn
  • What are the differences in the way they express their desire to escape earthly existence?
• What is ****************physical about this poem?
• Compare Marvell's attitude to the body to Donne's.

[luly]

Introduction: The Mock-Epic
.
At the beginning of "The Rape of the Lock," Pope identifies the work as a “heroi-comical poem.” Today, the poem–and others like it–is referred to as a mock-epic and sometimes as a mock-heroic. Such a work parodies the serious, elevated style of the classical epic poem–such as The Iliad or The Odyssey, by Homer–to poke fun at human follies. Thus, a mock-epic is a type of satire; it treats petty humans or insignificant occurrences as if they were extraordinary or heroic, like the great heroes and events of Homer's two great epics. In writing "The Rape of the Lock," Pope imitated the characteristics of Homer's epics, as well as later epics such as The Aeneid (Vergil), The Divine Comedy (Dante), and Paradise Lost (Milton). Many of these characteristics are listed below, under "Epic Conventions."

..
Setting
.
The action takes place in London and its environs in the early 1700's on a single day. The story begins at noon (Canto I) at the London residence of Belinda as she carefully prepares herself for a gala social gathering. The scene then shifts (Canto II) to a boat carrying Belinda up the Thames. To onlookers she is as magnificent as Queen Cleopatra was when she traveled in her barge. The rest of the story (Cantos III-V) takes place where Belinda debarks–Hampton Court Palace, a former residence of King Henry VIII on the outskirts of London–except for a brief scene in Canto IV that takes place in the cave of the Queen of Spleen.
.
Characters
.
Belinda Beautiful young lady with wondrous hair, two locks of which hang gracefully in curls.
The Baron Young admirer of Belinda who plots to cut off one of her locks.
Ariel Belinda's guardian sylph (supernatural creature).
Clarissa Young lady who gives the Baron scissors.
Umbriel Sprite who enters the cave of the Queen of Spleen to seek help for Belinda.
Queen of Spleen Underworld goddess who gives Umbriel gifts for Belinda.
Thalestris Friend of Belinda. Thalestris urges Sir Plume to defend Belinda's honor.
Sir Plume Beau of Thalestris. He scolds the Baron.
Sylphs, Fairies, Genies, Demons, Phantoms and Other Supernatural Creatures
Source: A Real-Life Incident
.
Pope based The Rape of the Lock on an actual incident in which a British nobleman, Lord Petre, cut off a lock of hair dangling tantalizingly from the head of the beautiful Arabella Fermor. Petre’s daring theft of the lock set off a battle royal between the Petre and Fermor families. John Caryll–a friend of Pope and of the warring families–persuaded the great writer to pen a literary work satirizing the absurdity and silliness of the dispute. The result was one of the greatest satirical poems in all of literature. In writing the poem, Pope also drew upon ancient classical sources–notably Homer’s great epics, The Iliad and The Odyssey–as models to imitate in style and tone. He also consulted the ****************s of medieval and Renaissance epics.
Plot Summary
By Michael J. Cummings...© 2005
.
.......Pope opens with a statement announcing the topic of his poem: A gentleman–a lord, in fact–has committed a terrible outrage against a gentlewoman, causing her to reject him. What was this offense? Why did it incite such anger in the lady?
.......The woman in question is named Belinda. She is sleeping late one day in her London home when a sylph–a dainty spirit that inhabits the air–warns her that “I saw, alas! some dread Event impend.” The sylph, named Ariel, does not know what this event is or where or how it will manifest itself. But he does tell Belinda to be on guard against the machinations of men.

.......Belinda rises and prepares herself for a social gathering, sitting before a mirror and prettying herself with “puffs and powders” and scenting herself with “all Arabia.” Afterward, she travels up the Thames River to the site of the social festivities, Hampton Court, the great palace on the north bank of the river that in earlier times was home to King Henry VIII. As she sits in the boat, “Fair Nymphs, and well-drest Youths around her shone, / But ev'ry Eye was fix'd on her alone.” In other words, she was beautiful beyond measure. She smiled at everyone equally, and her eyes–bright suns–radiated goodwill. Especially endearing to anyone who looked upon her were her wondrous tresses:
This Nymph, to the Destruction of Mankind,
Nourish'd two Locks which graceful hung behind
In equal Curls, and well conspir'd to deck
With shining Ringlets the smooth Iv'ry Neck.
.......Among Belinda’s admirers is a young baron at Hampton Court awaiting her arrival. He has resolved to snip off a lock of her hair as the trophy of trophies. Before dawn, before even the sun god Phoebus Apollo arose, the Baron had been planning the theft of a lock of Belinda's hair. To win the favor of the gods, he had lighted an altar fire and, lying face down before it, prayed for success.
.......After Belinda arrives at Hampton Court with her company of friends, the partygoers play Ombre, a popular card game in which only 40 of the 52 cards are dealt--the eights, nines, and tens are held back. It appears that the Baron will win the game after his knave of diamonds captures her queen of hearts. However, Belinda yet has hope, even after the Baron plays an ace of hearts:
...........................................The King unseen
Lurk'd in her Hand, and mourn'd his captive Queen.
He springs to Vengeance with an eager Pace,
And falls like Thunder on the prostrate Ace
The Nymph exulting fills with Shouts the Sky;
The Walls, the Woods, and long Canals reply.
.......Belinda wins! Coffee is served, the vapors of which go to the Baron’s brain and embolden him to carry out his assault on Belinda’s hair. Clarissa, a lady who fancies the Baron, withdraws scissors from a case and arms him with the weapon. When he closes in behind Belinda, she bends over her coffee, exposing a magnificent lock. But a thousand sprites come to her aid, using their wings to blow hair over the lock. They also tug at one of her diamond earrings to alert her to the danger. Three times they warn her and three times she looks around. But all is for naught. The Baron opens wide his weapon, closes it around the lock, and cuts.The rape of her lock enrages Belinda:
Then flash'd the living Lightnings from her Eyes,
And Screams of Horror rend th' affrighted Skies.
Not louder Shrieks to pitying Heav'n are cast,
When Husbands, or when Lapdogs breathe their last,
Or when rich China Vessels, fal'n from high,
In glitt'ring Dust and painted Fragments lie!
.......A gnome named Umbriel descends to the Underworld on Belinda’s behalf and obtains a bag of sighs and a vial of tears from the Queen of Spleen. With these magical gifts, he means to comfort poor Belinda. First, he empties the bag on her. A gentleman named Sir Plume--prompted by his belle, Thalestris, a friend of Belinda--then roundly scolds the Baron for his grave offense. But the Baron is unrepentant. Umbriel then empties the vial on Belinda. Grief overcomes her as her eyes half-drown in tears and her head droops upon her bosom. She says:
For ever curs'd be this detested Day,
Which snatch'd my best, my fav'rite Curl away!
Happy! ah ten times happy had I been,
If Hampton-Court these Eyes had never seen!
.......Clarissa tries to mollify Belinda in a long speech, but fails. A bit of a melee ensues when Belinda attempts to retrieve her lost lock. “Fans clap, Silks russle, and tough Whalebones *****.” Belinda proves a fierce combatant. She attacks the Baron “with more than usual Lightning in her Eyes” and throws a handful of snuff from Sir Plume's box up his nose. But, alas, when the battle ends, the lock is nowhere to be found.
.......However, the poem ends on a happy note for Belinda, Pope says, because the trimmed lock of her golden hair has risen to the heavens, there to become a shining star.

.

.
Theme
The central theme of The Rape of the Lock is the fuss that high society makes over trifling matters, such as breaches of decorum. In the poem, a feud of epic proportions erupts after the Baron steals a lock of Belinda’s hair. In the real-life incident on which Pope based his poem, the Petre and the Fermor families had a falling-out after Lord Petre snipped off one of Arabella Fermor’s locks. Other themes that Pope develops in the poem include human vanity and the importance of being able to laugh at life’s little reversals. The latter motif is a kind of “moral to the story.” Clarissa touches upon both of these themes when addressing tearful Belinda, shorn of her lock:
But since, alas! frail Beauty must decay,
Curl'd or uncurl'd, since Locks will turn to grey;
Since painted, or not painted, all shall fade,
And she who scorns a Man, must die a Maid,
What then remains but well our Pow'r to use,
And keep good Humour still whate'er we lose?
Climax
.
The climax of The Rape of the Lock occurs when the Baron snips away one of Belinda's locks.
.
Epic Conventions
Because a mock-epic parodies a classical epic, it uses the same conventions, or formulas, as the classical epic--but usually in a humorous way. For example, a convention of many classical epics is a sea voyage in which perils confront the hero at every turn. In The Rape of the Lock, the sea voyage is Belinda's boat trip up the Thames River. Her guardian sylph, Ariel, sees "black omens" that foretell disasters for Belinda even though the waves flow smoothly and the winds blow gently. Will she stain her dress? Lose her honor or her necklace? Miss a masquerade? Forget her prayers? So frightful are the omens that Ariel summons 50 of his companion spirits to guard Belinda's petticoat, as well as the ringlets of her hair. Following are examples of the epic conventions that Pope parodies:

• Invocation of the Muse: In ancient Greece and Rome, poets had always requested “the muse” to fire them with creative genius when they began long narrative poems, or epics, about godlike heroes and villains. In Greek mythology, there were nine muses, all sisters, who were believed to inspire poets, historians, flutists, dancers, singers, astronomers, philosophers, and other thinkers and artists. If one wanted to write a great poem, play a musical instrument with bravado, or develop a grand scientific or philosophical theory, he would ask for help from a muse. When a writer asked for help, he was said to be “invoking the muse.” The muse of epic poetry was named Calliope [kuh LY uh pe]. In "The Rape of the Lock," Pope does not invoke a goddess; instead, he invokes his friend, John Caryll (spelled CARYL in the poem), who had asked Pope to write a literary work focusing on an event (the snipping of a lock of hair) that turned the members of two families--the Petres and the Fermors--into bitter enemies. Caryll thought that poking fun at the incident would reconcile the families by showing them how trivial the incident was.

Division of the Poem Into Books or Cantos: The traditional epic is long, requiring several days several days of reading. Dante's Divine Comedy, for example, contains 34 cantos. When printed, the work consists of a book about two inches thick . Pope, of course, presents only five cantos containing a total of fewer than 600 lines. Such miniaturizing helps Pope demonstrate the smallness or pettiness of the behavior exhibited by the main characters in the poem.

• De************************ions of Soldiers Preparing for Battle: In The Iliad, Homer describes in considerable detail the armor and weaponry of the great Achilles, as well as the battlefield trappings of other heroes. In The Rape of the Lock, Pope describes Belinda preparing herself with combs and pins–with "Puffs, Powders, *****es"–noting that "Now awful Beauty puts on all its Arms."
• De************************ions of Heroic Deeds: While Homer describes the exploits of his heroes during the Trojan War, Pope describes the "exploits" of Belinda and the Baron during a card game called Ombre, which involves three players and a deck of 40 cards.
• Account of a Great Sea Voyage: In The Odyssey, Odysseus (also known as Ulysses) travels the seas between Troy and Greece, encountering many perils. In The Aeneid, Aeneas travels the seas between Troy and Rome, also encountering perils. In The Rape of the Lock, Belinda travels up the Thames in a boat.
• Participation of Deities or Spirits in the Action: In The Rape of the Lock--as in The Iliad, The Odyssey, The Aeneid, The Divine Comedy, and Paradise Lost--supernatural beings take part in the action.
• Presentation of Scenes in the Underworld: Like supernatural beings in classical epics, the gnome Umbriel visits the Underworld in The Rape of the Lock.

Publication Information
Pope published three versions of The Rape of the Lock. The first was a two-canto version published in 1712. The second, published in 1714, was a five-canto version that added references to sylphs and other supernatural creatures. The final version, published in 1717 in a volume of Pope's poetry, added Clarissa's speech in Canto V.
Verse Format
.
Pope wrote The Rape of the Lock in heroic couplets. A heroic couplet is a unit of two rhyming lines in iambic pentameter. A line of verse in iambic pentameter consists of 10 syllables. The first syllable is unaccented, the second accented, the third unaccented, the fourth accented, and so on. The entire poem consists of one heroic couplet followed by another, as demonstrated by the first four lines of the poem:
What dire offence from am'rous causes springs,
What mighty contests rise from trivial things,.......................[First Couplet: springs and things rhyme]
I sing–This verse to CARYL, Muse! is due:
This, ev'n Belinda may vouchsafe to view............................[Second Couplet: due and view rhyme]
Each of the lines has 10 syllables in a succession of accented and unaccented pairs (iambic pentameter), as follows:
What dire offence from am'rous causes springs,
What mighty contests rise from trivial things,
I sing–This verse to CARYL, Muse! is due:
This, ev'n Belinda may vouchsafe to view
You may have noticed that Pope turned amorous into two syllables by eliminating the o and attempted to turn even into a single syllable by eliminating the second e. Poetic license permits poets to make such adjustments to achieve their ends.
.
Figures of Speech
.
The main figure of speech in The Rape of the Lock is hyperbole. Pope uses it throughout the poem to exaggerate the ordinary and the commonplace, making them extraordinary and spectacular. In so doing, paradoxically, he makes them seem as they really are, small and petty. Examples of hyperbole include the following:
Sol through white Curtains shot a tim'rous Ray,
And ope'd those Eyes that must eclipse the Day.
...Hyberbole: Belinda's eyes are so bright that they outshine a ray of sunlight
This Nymph, to the Destruction of Mankind,
Nourish'd two Locks which graceful hung behind
...Hyperbole: Belinda is so beautiful--and her wondrous locks so inviting--that she can bring mankind to ruin with desire.
Examples of Other Figures of Speech in the Poem
Personification
Love in these Labyrinths his Slaves detains
Anaphora
He saw, he wish'd, and to the Prize aspir'd
Alliteration
Where Wigs with Wigs, with Sword-knots Sword-knots strive,
Beaux banish Beaux, and Coaches Coaches drive.
Questions and Writing Topics

• Is there a serious message about the world, about human conduct, behind Pope's mischievous mockery?
• Pope uses many allusions to Greek and Roman mythology. Why did so many writers of his time--and why do so many writers today--allude to mythology to make comparisons or describe situations and characters?
• Write a short poem that uses heroic couplets and allusions.
• Write an essay explaining the role of nature imagery (including references to the sun, the sky, the moon, lakes, rivers, grass, flowers, parks, and meadows) in the poem.

.

And more on THE RAPE OF THE LOCK from
http://rpo.library.utoronto.ca/poem/1644.html
Notes
1] First published anonymously in Lintot's Miscellany in May 1712, but revised, expanded, and published separately under Pope's name on March 2, 1714. To this edition Pope added the following dedicatory letter:
To Mrs. Arabella Fermor
Madam,
It will be in vain to deny that I have some regard for this piece, since I dedicate it to You. Yet you may bear me witness, it was intended only to divert a few young Ladies, who have good sense and good humour enough to laugh not only at their sex's little unguarded follies, but at their own. But as it was communicated with the air of a secret, it soon found its way into the world. An imperfect copy having been offered to a Bookseller, you had the good nature for my sake to consent to the publication of one more correct: This I was forced to, before I had executed half my design, for the Machinery was entirely wanting to complete it.
The Machinery, Madam, is a term invented by the Critics, to signify that part which the Deities, Angels, or D&aelig;mons are made to act in a poem: For the ancient poets are in one respect like many modern ladies: let an action be never so trivial in itself, they always make it appear of the utmost importance. These Machines I determined to raise on a very new and odd foundation, the Rosicrucian doctrine of Spirits.
I know how disagreeable it is to make use of hard words before a lady; but 'tis so much the concern of a poet to have his works understood and particularly by your sex, that you must give me leave to explain two or three difficult terms.
The Rosicrucians are a people I must bring you acquainted with. The best account I know of them is in a French book called Le Comte de Gabalis, which both in its title and size is so like a novel, that many of the fair sex have read it for one by mistake. According to these gentlemen, the four elements are inhabited by spirits, which they call Sylphs, Gnomes, Nymphs, and Salamanders. The Gnomes or D&aelig;mons of Earth delight in mischief; but the Sylphs, whose habitation is in the air, are the best-conditioned creatures imaginable. For they say, any mortals may enjoy the most intimate familiarities with these gentle spirits, upon a condition very easy to all true adepts, an inviolate preservation of Chastity.
As to the following Cantos, all the passages of them are as fabulous as the Vision at the beginning or the Transformation at the end; (except the loss of your Hair, which I always mention with reverence). The human persons are as fictitious as the airy ones, and the character of Belinda, as it is now managed, resembles you in nothing but in Beauty.
If this poem had as many graces as there are in your person, or in your mind, yet I could never hope it should pass through the world half so uncensured as you have done. But let its fortune be what it will, mine is happy enough, to have given me this occasion of assuring you that I am, with the truest esteem,
Madam,
Your most obedient, Humble Servant,
A. Pope

The Rape of the Lock was written at the request of John Caryl, a Catholic man of letters and Pope's lifelong friend and correspondent. In the year 1711, Robert, Lord Petre (the Baron of the poem), a relative of Caryl's, caused a serious quarrel by the theft of a lock of Miss Arabella Fermor's hair (Pope's Belinda). Caryl requested a jesting poem to laugh the families out of their anger, and Pope obliged with the 1712 two-canto version of The Rape of the Lock, which had only 334 lines. The version of 1714 exploited far more fully the idea of a "heroi-comical" poem. This involved the addition of the "celestial machinery," of Rosicrucian spirits--the sylphs. Other epic or "heroic" analogues added in 1714 included Belinda's toilet (the arming for battle), the card game of ombre (epic games), and the Cave of Spleen (descent to the underworld).
The present version contains one other addition made in 1717, Clarissa's speech in Canto V, which Pope said (with some irony) opened "more clearly the moral of the poem." The importance of The Rape of the Lock and its proper comprehension by its audience was underlined by a prose publication called the Key to the Lock. In this work, Pope, writing under the pseudonym of Esdras Barnevelt, carries on a comic attack on the poem, pointing out some of the religious overtones, such as the sylphs as guardian angels, Belinda's toilet as a parody of the Mass. Nolueram, Belinda .... I didn't wish to violate your locks, Belinda, but I'm happy to have granted this to your prayers (Martial, Epigrams, XII, 84).
17] Thrice rung ... the ground. Belinda's summons to her maid employs the triple repetition common in epic poetry.
18] press'd watch: a watch which sounded the immediately preceding hour or quarter hour when it was pressed. These watches enabled one to tell time when it was too dark to see.
21 ff.] The gods often communicate with the epic hero through dreams (e.g., Aeneid, III, 147 ff.).
23] birth-night beau: dressed in the splendid apparel used for a royal birthday celebration.
27-28] Epic heroes are always under the protection or guardianship of higher powers.
32] silver token: coin left by the fairies in the shoes of grass covered with "fairy-ring," circles of dark, coarse grass, supposed to mark the place where the fairies have been dancing.
44] box: theatre box.
Ring: the circular driveway in Hyde Park frequented by ladies of fashion.
46] chair: sedan chair.
50] vehicles: bodies (Pope intends a pun linking vehicles with equipage and chair).
55] chariots: an eighteenth-century four-wheeled carriage but used in this con**************** because of its epic appropriateness to the heroic action.
56] ombre: see below, III, 27 ff.
57-66] For when.... Air. This passage refers to the theory of personality which relates the basic kinds of temperament to the predominance of one or another of the four elements (air, fire, water, earth). Although the theory at times has been more generally held, it formed part of the Rosicrucian speculations from which Pope borrows his machinery.
61-62] away ... tea: a perfect rhyme in Pope's day (pronounced {_e}i).
70] Assume ... please: cf. the angels in Paradise Lost.
79] nymphs: here used in the sense of maidens. Cf. dedicatory letter and line 62 where it refers to one of the four orders of Rosicrucian spirits.
105] who thy protection claim: i.e., claim the right to protect thee.
106] Ariel: "a word from the Vulgate ... rendered altar" (OED). The name is used in the Old Testament as a man's name and also occurs in Isaiah 29: 1-9, where it means "lion of God" and is applied to Jerusalem. Milton used the name for a rebel angel and Shakespeare for his benign aery spirit in The Tempest. In magical literature, the name is used for a spirit that controls the elements or planets.
108] In the clear mirror: "[Pope] The language of the Platonists, the writers of the intelligible world of spirits, etc."
112] pious: dutiful, godly.
115] Shock. The shock or shough was a special kind of lap-dog, hairy, curled, and rough all over. (Pope puns on the usual meaning of the word.)
119] Wounds ... ardors: i.e., the exaggerated expression of the billet-doux.
121 ff.] In the Key to the Lock (see introduction above), Pope calls attention to the parallel between these sacred rites of pride and the Mass. Belinda is the priestess; the maid, the inferior priestess or acolyte. Pope also has in mind the hero arming for battle.
148] Betty: a generic name for a lady's maid.
Online **************** copyright © 2009, Ian Lancashire (the Department of English) and the University of Toronto.
Published by the Web Development Group, Information Technology Services, University of Toronto Libraries.
Original ****************: Miscellany (Bernard Lintot, May 1712). Revised in Alexander Pope's The Rape of the Lock (March 2, 1714). Facs. edn.: Scolar Press, 1970. PR 3629.A1 1970 TRIN. Further revised in Alexander Pope, Works (London: W. Bowyer for Bernard Lintot, 1717). E-10 884 and E-10 885 and E-10 3947 and E-10 3938 Fisher Rare Book Library (Toronto).
First publication date: May 1712
Publication date note: Revised 1714, 1717
RPO poem editor: D. F. Theall
RP edition: 3RP 2.305.
Recent editing: 4:2002/4/15*1:2005/1/27
Form: Heroic Couplets


وبس
هذا اللي عندي

[عسولة الشرقية]

تدرون بنات انا كل ما اكتب معلومات وشرح والبنات يدعونلي ويتشكرون


صراحه احسهم يسون كذا لاني انا اقول دعواتكم بنات في نهايه كل مشاركه



لكن بجد بجد ما حسيت بشعورهم الا يوم شفت مشاركه لولي



يا اني نقزت من الفرحه


لاني ضاااااااااااااااااااااااااااااااايعه ومن قلب باخر محاضرات الشعر


لولي الله يوفقك دنيا واخره وينجحك بكل اختباراتك ويدخلك الجنه من اوسع ابوابها <---- حتى برمضان ما دعيت زي كذا ويوفقكم بنات



موفقين

[luly]

لااا لحظه في شي ثااني
نصيطوووه
From : http://www.luminarium.org/sevenlit/s...htm#carewThere are of course many non-aggressive poems on standard themes among Carew's works. Carew, like Donne, often played at creating strikingly original compliments. 'Ask me no more where Jove bestowes' is perhaps the most beautiful song of its period. Few poets have ever created such purely lyrical lines where the logic of analogy is so completely compressed that the statements are untranslatable into prose paraphrase. The lyrical songs, however, are the minor side of Carew. Carew is too realistic, and perhaps too self-protective, to make many flights into irrational beauty. But the lyric poems do reveal an intense emotional warmth which Carew otherwise keeps under control, and which would seem to explain his need to establish clear, secure personal relationships. Carew's poetry deals with the side of reality that is often hidden from public discussion: sexual appetites, the desire to dominate over others, the need for warmth and security, and the need to protect oneself against harm. While these are usually thought of as psychological drives, we are often aware of their existence; our social values recognize a delicate system of checks and balances in the give and take between people. Manners are the common means to legislate over this potential battlefield. However, manners are too slipshod to rule over all areas of society where clashes between personalities occur. Individuals or social groups often manage to appropriate manners for their own use, and then injustice occurs. What was meant to be flexible becomes rigid; what was meant to give rights leads to serfdom. The great themes of literature often derive from this border area between social values and psychological needs. In the modern novel there is a constant search for some superior organization of personality which will enable us to respond to this personal side of reality. Lawrence's novels record, when he is not being self-willed and didactic, a constant oscillation between the assertion of the ego, with its desire to be independent, and the search for warmth and security, which results from the weakening of the ego and its fusion with others. While Lawrence was unable to solve this problem, he had a heightened awareness that both the constant assertion of personality and the annihilation of individuality lead to psychic sickness. Nor is the concern with the proper relationship of individuals to others a peculiarly modern literary theme. The supposed immorality of Restoration comedy derives from its naked acceptance of the view that man is appetitive matter in motion seeking satisfactions. It proposes as morally superior the man who clearly understands human nature, and who manages to control it to his own advantage.7 The heroes and heroines of Restoration comedy continually seek to discover what others are really like so that they may live on rational terms with them. This is the theme of The Man of Mode and the significance of the brilliant proviso scene in The Way of the World. The 'honesty' of Wycherley is that he refuses to play the game and insists upon a more rigorous moral code. The attitude of Restoration comedy has its origins in the wit of Carew. Carew's achievement is to have created a social pose of urbane worldliness which opens communication between the sexes but which threatens retaliation if one is injured. It is a means of mastering reality so that one may live within society without being a dupe or a cad. Essentially this is a problem of love. Since courtship is a matter of personal relations, it provides us with a microcosm of the tensions between the individual and society. In love we desire union with another person, by which we may feel at once secure in our giving and taking of affections, and yet self-sufficient in the completeness of our personality in relation to the external world. There is, however, a masochistic perversion of this in which, through self-hate, the ego is totally extinguished. There is also an aggressive attitude in which the ego is never extinguished, but attempts to appropriate or possess others without returning affection.8 Courtship creates both possibilities at once: the overly compliant person who sacrifices his identity to become part of the other's narcissistic universe. While Carew's poems may seem to injure others, they are actually attempts to correct the unequal relationship implicit within the petrarchan rhetoric of courtship. If Carew's poems do not speak, as some of Donne's do, of a fusion of personalities, they at least have the value of creating situations where the fullness of love is possible. It is a razor-sharp position from which slight deviations can result in a disagreeable toughness. However, there is in Carew's best poetry a rich awareness of the complexity of our relations with others. I think that I can illustrate the many dimensions of Carew's awareness by using Sir John Suckling as a foil. I have no wish to devalue Suckling; in an age of excellent poets he is superior to most. However, Suckling has less insight into the complexities of life; he reduces a valuable part of existence to a few simple ideas. In 'Of thee (kind boy)' the themes are that man is merely appetite and that beauty is relative. Love is a pleasing folly ('Make me but mad enough') and a product of the fancy (''tis love in love that makes the sport'). Even Suckling's libertinism is grossly literal (''tis the appetite Makes eating a delight'), and lacks the intense philosophical scepticism that makes Rochester an important poet. Suckling's talent is in his technique. He is a master of the manipulation of syllabic rhythms, the use of tonal modulation within a poem, and the modification of rhyme patterns. However, he never comes to grips with the substance of reality. Carew's poems are less simple, and describe life's essential battles. In a sense each of Carew's poems has a double existence: there is the poetry of the brilliantly finished surface of the poem itself; and there is the poetry of Carew's attempt to impose a civilized order upon the desperate chaos of man's inner realities. Notes1F. R. Leavis, Revaluation (1936), p. 16. 2See S. Freud, Jokes and their Relation to the Unconscious, transl. J. Strachey (1960), pp. 140-58. Since I am concerned with the social purpose of Carew's poetry, my essay ignores the sadistic element that Freud finds in aggressive wit. 3Four of the seven love lyrics which represent Carew in Grierson's ****************physical Lyrics and Poems are aggressive or threatening. In the Oxford Book of Seventeenth Century Verse, seven out of nine love poems are aggressive. I include among these 'Good Counsell to a Young Maid', which is a warning against mistaking man's sexual desires for love. The proportion is somewhat less in Carew's total works; but I am concerned with the attitude behind Carew's best poems. 4Donne's 'Elegie XIX', lines 40-6. Also see Clay Hunt, Donne's Poetry, New Haven (1954), pp. 18-21. 5All quotations of Carew are from The Poems of Thomas Carew, ed. R. Dunlap, Oxford (1949). 6See Hunt, pp. 44-50. 7Recent studies that take this point of view include N. N. Holland, The First Modern Comedies, Cambridge, Mass. (1959); and D. Underwood, Etherege and the Seventeenth-Century Comedy of Manners, New Haven (1957). 8A useful discussion of this is N. O. Brown, Life Against Death, New York (1959), pp. 40-54.Source: Bruce King, "The Strategy of Carew's Wit," in A Review of English Literature, Vol. 5, No. 3, July, 1964, pp. 42-51.

[luly]

ثاااانكيووو عسووولتي
اخجلتي توااضعي>>على قولت ابله عطياات
هذا من طيب اصلك


>>>مستعده للشعر

بس تدرووون وش احسن شي النهرطه


انو ماعندي اختبااااااااااار
لوووووووووووووووووووووووووووووول

احس اني بتقلع

بالتوفيق يابنات قوسيمي
والله يعني السنه الجااايه عليه

محد وده يازرني السنه الجايه؟؟؟؟
باي قبل ما اتكفخ

[رحلة عمر]

الله يوفقكم ويسعدكم يارب
بجد مشكورين

[Roony bnt 7sony]

السلام

بنات المقال من ستب 18 الي ويييييييييين ؟؟


والفهم بس الملازم ؟؟

مانفتح الكتااااااااااب يعني

تيب

مين مسوي سسكآن للملازم الفهم او تقدر تسوووي لي سكآن لهم ؟

انا ماعندي غير وحده اللي عن الديزيز

بليز بليز اللي تساعدني بكون شاكره لها وبدعي لها ..