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

[نور الـ ع ـيون]

المشاركة الأصلية كتبت بواسطة الراحة بالجنة

بنات هذي القصيدة معانا ولا



death be not proud لجون دون

ايوة معنا


بنااات ماشتركت بالقروب


ممكن وحده تعلمنا وش فية

[نور الـ ع ـيون]

sweety

تكفين وش في هالقروب

واذا تقدرين تختصرين اللي فية وتحطينهم لنا هنا



وبالتوفيق

[C a t h r e n]

معنا طبعا ..

بس البلا في الأخيرات اللي ماشرحتهم دكتورة حصة


ode on solitude
ألكساندر بوب



The difinition of love
كتبها أندرو مارفل
>>بس أذكر كأن اسمها love بس



ودامها دخلت برادايس لوست بالإمتحان الإختياري لبنات شرحت لهم القصيدة بنفس اليوم..
أتوقع بيصير لنا نفس الشي في الفاينل


>>ماهي حالة ذي

[C a t h r e n]

هذا تقسيم المنهج من قروب حصة


Registration
-Introduction to the course and discussion of the syllabus.
-Seventeenth Century : background
-Characteristics of the ****************physical Poetry
- John Donne's Holy Sonnet no. "14"

John Donne's " The Good Morrow"
& The Holy Sonnet no. "10"

George Herbert's " The Altar"
George Herbert's " Jordon"
Andrew Marvel's "Dialogue"
Andrew Marvel's "Dialogue"
Mid- Term Vacation
The Cavaliers
-Carew's "A Song"
- Suckling's "Song"
John Milton's " On My Blindness"
John Milton: Paradise Lost , Book I
The Age of Reason : Introduction
Alexander Pope's "Ode on Solitude"
Alexander Pope's satire "Triumph of Dulness"
John Dryden's " Mackflone"
Final Exams

[C a t h r e n]

هذي من قروب حصة

قصيدة الأعمى >>افهموها عاد



And post o’er land and ocean without rest:
They also serve who only stand and wait.”
http://rpo.library.utoronto.ca/poem/1457.html
This poem is a classic. For decades it has thrilled readers and been the discussion of many literary and academic conversations. It is a popular favorite with high school English teachers across America. Many read the poem to pick out the meaning; some think that the poem is a discussion about his blindness; others feel that the poem speaks of religious duty; still others argue that the poem is about the importance of time. In fact, I think that all of these arguments are partly correct, but more importantly, I feel that the composing of this poem was Milton’s effort to comfort himself.

“When I Consider How My Light Is Spent,” is Milton’s first and only poem that appears to be about his blindness. At the time of this poem’s composition, Milton was blind. His daughter who took dictations for him held the pen that inked Milton into literary immortality. A brief study of Milton’s life, however, will show that all of his life, he was an active, independent, advocate of rights in religion and an amazingly tenacious seeker of government reform. Though most of his endeavors in the political and religious arena’s failed, (he was a Protestant), he stuck to his guns… even when it was arguably unwise to do so. Understandably, a blind Milton would feel some angst at having lost his sight.
There are many who believe that the “light” in Milton’s poem is time. If that is so, then let’s assume that “that one talent which is death to hide,” was his poetry . I have raised this sugesstion because after reading biographies on Milton and seeing how active he was and how he used his writing skills to try to affect change in his world it seemed the most obvious, “talent” that stood in danger of being hidden; unless, of course, the “talent” is Milton’s eyes, which are indeed, “Lodged within [him] useless.” Here I must make a choice, is the talent Milton’s poetry or his sight? Here is my case: Milton used his eyes in the days of his youth to observe injustices, and then used his hands and pen to attempt to right them. I am convinced however, that the “talent” he is “hiding” is eyesight, given to him by a “Maker.” Why am I convinced? Naturally, the following lines prove my point:
“And that one talent which is death to hide//Lodg’d with me useless, though my soul more bent//To serve therewith my Maker, and present//My true account.”
These lines tell me beyond a shadow of a doubt that Milton is eager to “right wrongs” again. He wants to change his world. He wants to try to change something, but he can’t. His sight lies lodged within him useless, though he longs to serve his Master with it, and give his true account of the injustices and corruption around him. I know that the talent is not poetry because Milton can still dictate. He can indeed write through his daughter. Yes, many may argue that he cannot pick up a pen and write whenever he pleases, being blind, but his hands are not lodged within him useless; his eyes are.
Here again we return to the issue of “light.” What is it? It is time. Milton clears up any doubts with his query, “Does God exact day labor, light denied?” Assuming that the talent helps Milton do “day labor”, we can easily see that light is time. “Day labor” then is observing injustices and corruption in high places, and doing something about it. It is true that Milton could hear of the injustice going on around him, but I feel he yearned to see for himself and interpret for himself what was right or wrong. He wanted to be able to give his, “True account,” to God when his time came and hear a deserving, “Well done.” Now, he feels useless.
“God doth not need
Either man’s work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o’er land and ocean without rest:
They also serve who only stand and wait.”
These words, uttered from the mouth of “Patience,” comfort Milton. They tell him that he is not worthless in the kingdom of God on Earth. “They also serve who only stand and wait.” I believe that Milton places himself in the category that “only stand and wait.” His later years are less active by far than his early years. Once he could view corruption and openly write against it. Now he can only hear of it, and then hope that the account is not skewed by biases and personal opinion, or public opinion. The greatest comfort to this poet lies in the last line. He is not a careless steward. He is an attentive servant, waiting to be called upon once again.

[نور الـ ع ـيون]

المشاركة الأصلية كتبت بواسطة C a t h r e n

معنا طبعا ..

ode on solitude
ألكساندر بوب



The difinition of love
كتبها أندرو مارفل
>>بس أذكر كأن اسمها love بس

>>ماهي حالة ذي

كاثرين بس اللي بالاحمر

الثانية ماقالت ولاشي عنها


اذكر قالت اقروها بس عشان نفهم انه كتب اكثر من موضوع




وسألت بنات د.,عليا يقولون ماخذوها








استغفر الله ياربي

كل شوي تطلع قصيده

اخر مرة ادرس عند دكتورة حصة

[C a t h r e n]

وهذي آخر قصيدة شرحتها

حقت خصلة الشعر


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.
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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 Dæmons 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 Dæmons 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.
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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
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[C a t h r e n]

المشاركة الأصلية كتبت بواسطة نور الـ ع ـيون

كاثرين بس اللي بالاحمر

الثانية ماقالت ولاشي عنها


اذكر قالت اقروها بس عشان نفهم انه كتب اكثر من موضوع




وسألت بنات د.,عليا يقولون ماخذوها








استغفر الله ياربي

كل شوي تطلع قصيده

اخر مرة ادرس عند دكتورة حصة

أصلا مافكرت أفتحها
>>هي قالت لنا بنفسها
don't study too much .. & have a good sleep, so you can answer in the exam

[نور الـ ع ـيون]

المشاركة الأصلية كتبت بواسطة C a t h r e n

هذا تقسيم المنهج من قروب حصة


Registration
-Introduction to the course and discussion of the syllabus.
-Seventeenth Century : background
-Characteristics of the ****************physical Poetry
- John Donne's Holy Sonnet no. "14"

John Donne's " The Good Morrow"
& The Holy Sonnet no. "10"

George Herbert's " The Altar"
George Herbert's " Jordon"
Andrew Marvel's "Dialogue"
Andrew Marvel's "Dialogue"
Mid- Term Vacation
The Cavaliers
-Carew's "A Song"
- Suckling's "Song"
John Milton's " On My Blindness"
John Milton: Paradise Lost , Book I
The Age of Reason : Introduction
Alexander Pope's "Ode on Solitude"
Alexander Pope's satire "Triumph of Dulness"
John Dryden's " Mackflone"
Final Exams

كاثرين تكفين بس تحطيم


اللي بالاحمر متى اخذناهم


John milton

خذنا بدالها
whan i consider

و
Alexander pope

The Rape



صحيح ولا انا غلطانة !!!!!!

[C a t h r e n]

صح بس اوريكم إن المنهج مافيه سوليتيود

وترى أون ماي بلايندنس=هي نفسها=وين آي كونسيدر هاو ماي لايت...

وهم يحطون كورس قصايد وبعدين كل وحدة تشرح شي من عندها ونحن ناكل هوا