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

[ILMMSFM]

Cathren dear,
i really don't know if there's anything important in the whole course :p
anyhow, i heard that there will be MCQs, short notes, and an essay

!
good luck

[luly]

هااااذي للديالوق
من اللي حطتهوم حصه

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.

[ريحة المطر]

luly شـكــ وبارك الله فيك ـــرا لك ... لك مني أجمل تحية .

مررره شوكرن والله يوفقك ان شاء الله

[wmm]

Poetry (12) Last 2nd year 2nd term Dr:Hessa
"The rape of the lock" Alexander 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) in the poem. Caryl requested a jesting poem to laugh the families out of their anger.
Who are the neo-classical poets?
Alexander Pope is one of the neo-classical poets. The neo- classical poets are the poets who are influenced by the classical trends by reading the masterpieces of the Latin and translating it and they believed that the classical way of writing is the best model to be followed. They had different characteristics, as they believed that the best rule should be taken from nature as it provides man with all the good rules as nature is not walking haphazardly but by rules. They used to wrote universal ideas and believed that the perfection of art by following the rules of writing structure, grammar, and meter, so they were seeking for correctness.
Alexander Pope is the father of the neo- classical; he has many critical writings about man. Here, he tried to write epic, which has to be about heroes and heroic events and there must be a tragic fall of the hero, as he is a human being with mistakes. He imitates the classic by writing the epic but the occasion of the story is very different. It tries to reflect the behavior of the ladies at that time as they were interested in parties, dancing, playing piano, and getting married by trying to hunt husbands.
The story is about lord loving Blinda " the heroine' and he cut the lock of her hair as she does not want to love him, so there was a war between the two families. He wrote this poem to make a funny situation, trying to breach this gap between the two families and to satirize the life of the aristocratic class, to reflect their mistakes that they have to be noticed and passed it. They should try to find some thing useful in their life besides the parties.
Rape is a very serious act as the family considered it very sad event, the thing which reflects their triviality. He used the epic form to mock this triviality of that time.
The poet used the epic machine .it is a tragic hero, but here heroine, and she is supposed to be tragic , but different tragic as the tragic incidents here is about the falling of the hair, and the battle is between the ladies to win husband.
He used all the characteristics of the epic but to mock, the epics always have a god and a goddess, and super natural elements. Here the poet invented the help of "fairies" sylphs", small tiny airy are supposed to help the heroine Blinda, they help her to be the most beautiful one by bringing her the cosmetics, jewelry, dresses, and perfumes. The name of their leader is called Ariel , he is taking the most important procedure with Blinda. Ariel is taking care of her dog which wake her up every day after 12 clock as she has no thing to do. Hence, it is called mock-heroic epic where he is satirizing the age of this time using the characteristics to give importance to this trivial subject.
"The rape of the lock" Alexander Pope
Stanza 1:
What dire offence from am'rous causes springs,
2What mighty contests rise from trivial things,
3I sing--This verse to Caryl, Muse! is due:
4This, ev'n Belinda may vouchsafe to view:
5Slight is the subject, but not so the praise,
6If she inspire, and he approve my lays.
He uses the classical division using the same procedures of the classical poets starting the poem telling what he is going to say. In the first two lines, he tries to invoke the muse of the reader by telling the reader what he is going to say, the main theme, or the purpose of the poem. Then, he mentions the love relation between Blinda and her lover, which is serious matter that caused problem that is a trivial incident. He describes Blinda's beauty. He describes how she is helped by the fairies"| sylphs" who are the inhabitants of the air.
Stanza 2:
Know further yet; whoever fair and chaste
Rejects mankind, is by some sylph embrac'd:
For spirits, freed from mortal laws, with ease
Assume what sexes and what shapes they please.
What guards the purity of melting maids,
In courtly balls, and midnight masquerades,
Safe from the treach'rous friend, the daring spark,

The spirits who are free from mortal laws and take the shape of any thing, they helps her in any thing. She wants to be the most beautiful one.
Stanza 3:
Of these am I, who thy protection claim,
A watchful sprite, and Ariel is my name.
Late, as I rang'd the crystal wilds of air,
In the clear mirror of thy ruling star
saw, alas! some dread event impend,
Ere to the main this morning sun descend,
But Heav'n reveals not what, or how, or where:
Warn'd by the Sylph, oh pious maid, beware!
This to disclose is all thy guardian can.
Beware of all, but most beware of man!"

Here Ariel is talking who says that he is one of these fairies" sylphs" who protects her and advises her as a guardian of her to be a ware of all but mostly of man.
Stanza 4:
He said; when Shock, who thought she slept too long,
Leap'd up, and wak'd his mistress with his tongue.
'Twas then, Belinda, if report say true,
Thy eyes first open'd on a billet-doux;
Wounds, charms, and ardors were no sooner read,
But all the vision vanish'd from thy head.

Shock' her dog" wakes her up and check the letters as apart of the battle , she checks how many love letters she received, she reads about her charm , then, she starts to wake up really and be aware.
Stanza 5:
And now, unveil'd, the toilet stands display'd,
Each silver vase in mystic order laid.
First, rob'd in white, the nymph intent adores
With head uncover'd, the cosmetic pow'rs.
A heav'nly image in the glass appears,
To that she bends, to that her eyes she rears;
Th' inferior priestess, at her altar's side,
Trembling, begins the sacred rites of pride.
Unnumber'd treasures ope at once, and here
The various off'rings of the world appear;
From each she nicely culls with curious toil,
And decks the goddess with the glitt'ring spoil.
This casket India's glowing gems unlocks,
And all Arabia breathes from yonder box.
The tortoise here and elephant unite,
Transform'd to combs, the speckled and the white.
Here files of pins extend their shining rows,
Puffs, powders, *****es, bibles, billet-doux.
After wakening, she goes to the toilet to fix herself, as the maids unveiled it the moment. She wakes up to robe her in white and decorate her dress and reveal the power of the cosmetic to be beautiful. In the mirror she appears a heavenly image as an angel. There are different slaves helping her, the priestess is one of her maids which supports her with heavenly spiritual image, the thing which reflects the idea that her toilet is like a place in a church" altar", this to make seriousness out of a trivial situation. With trembling hand, they work in her, as they are worried if doing some thing wrong. Then, the poet says that she is confident to the extent being a pride which is considered a sin. From each treasure, she takes some thing support her beauty to be like a goddess. Then she wears the jewelry coming from India and from another box, another Arabian perfume appears. The poet mentions tortoise and elephant trying to criticize her.
Then he mentioned the ****************************s on her table," puffs, powders…", and to give importance to the situation, he mentions the word Bible, and there is alliteration in "puffs, powder…" As the words starts equally with the sound "p".
Stanza 6:
Now awful beauty puts on all its arms;
The fair each moment rises in her charms,
Repairs her smiles, awakens ev'ry grace,
And calls forth all the wonders of her face;
keener lightnings quicken in her eyes.
The busy Sylphs surround their darling care;
These set the head, and those divide the hair,
Some fold the sleeve, whilst others plait the gown;
And Betty's prais'd for labours not her own.

A dangerous beauty appears, here, there is a paradox in the two words "beauty ad awful". With her arms, she goes into the battle, the arms showing seriousness to the situation, this very different battle. Then, the poet reflects her while she looks at the mirror to see how beautiful she is. The unnaturalness not only in her appearance looking but also in her behavior as she is trying to see how she will act. Now she is satisfied with her blushing and her lightening eyes. Now all the sylphs helping her to put the last touch at her wholly. Now she is prepared for the battlefield.
How dare this lover cut her hair, so he is making fun from the behavior of this time and its triviality. The lock of her is very precious as it takes along time to prepare it as it is apart of her arms. The word rape is very serious word, so the trivial and seriousness are going side by side in the poem as the poet used serious words and way of writing to express the triviality.
Meaning of mock- heroic
Mock-heroic or heroic-comic works are typically satires or parodies that mock common Classical stereotypes of heroes and heroic literature. Typically, mock-heroic works invert the heroic work by either putting a fool in the role of the hero or by exaggerating the heroic qualities to such a point that they become absurd.
**********************************************

[luly]

المشاركة الأصلية كتبت بواسطة ريحة المطر

luly شـكــ وبارك الله فيك ـــرا لك ... لك مني أجمل تحية .

مررره شوكرن والله يوفقك ان شاء الله

نحن في الخدمه دوماا
اذا كانت الخطوووط مشغووووله يرجا معااودت الاتصال في وقت لااحق

[دمـدم]

ode on solitude

اهلين بنات انا اليوم سألتحصه عنها وقالت لي مو معانا

قلت لها كيف بنات علياء ماخذينها قالت لي

لو جات في الاختياري (الاسئله المقاليه ) لاتختارينها

[luly]

بناااااات هذا جاااء عاااجل
توني فتحت القروب لقيت فيه عن جوووردن 1 و 2
ونااااااااااااااااااصه

George Herbert: Poem analysis » Jordan I
On writing poetry
Telling the truth
What kind of poetry?
Plain poetry

On writing poetry

Herbert wrote two poems entitled Jordan. Both are about the writing of poetry, and we can see Herbert reflecting on what he is doing in his own poetry. The meaning of the title may not seem immediately obvious. The River Jordan was the barrier which had to be crossed by the people of Israel as they entered the land of Canaan (the ‘Promised Land’) after journeying from Egypt through the desert. It was also the place where Jesus (and others) were baptised by John the Baptist (Mark 1:5 and Mark 1:9). The title therefore brings into play ideas of being led forward into a new environment, experiencing transformation and renewal.

More on baptism: Baptism is a central Christian ceremony or sacrament, together with communion (or the Mass). It involves pouring water over the baptismal candidates or immersing them in water. The symbolism of transformation works at several different levels. Firstly, it denotes repentance and a cleansing from past sins (Acts 19:4). Secondly, it denotes ‘dying’ to the old life and resurrection to a new transformed life.
Herbert is interested in ‘baptising’ the poetic imagination, and making sure Christian poetry is seen as real poetry. He asks: does all poetry have to be love poetry or pastoral poetry, and fictional at that?

Telling the truth
Herbert constructs the first two stanzas as a series of questions which challenge the orthodoxies of poetry-writing. Can poetry not just celebrate truth? The reference to a ‘painted chair’ is to poetry's artificiality as much as to its fictional nature. ‘A winding stair’ suggests a roundabout, indirect, elaborate mode of construction. Herbert is advocating a straightforward, plain statement of truth-telling. This is clearly how he wants his poetry to be written and judged.

What kind of poetry?
The second stanza raises questions about genre. Does poetry have to be pastoral poetry or love poetry, and expressed in a way that we can only catch ‘the sense at two removes’. The details mentioned are typical of such poetry.

Plain poetry
The third stanza advocates an alternative. Herbert plays with the word ‘shepherd’. In one sense, pastoral poetry is full of shepherds and shepherdesses. But are they real (‘honest’), or are they merely devices and conventional fictions? The second meaning of shepherd is ‘pastor’, the one who cares for the sheep. This evokes the words of Psalm 23, ‘The Lord is my Shepherd’ and the New Testament image of Christ as the ‘Good Shepherd’ Hebrews 13:20). As a poet who is also a priest, caring for his own flock, Herbert too is a shepherd. He describes his own poetry as plain, his cry of ‘My God, My King is ’. He refuses to be envious of other poet's nightingales (sweet verse) or their love poetry (‘spring’ being symbolically the season of lovers). Yet, though his choice of language may be plain, his thinking remains quite complex, challenging the reader to interpret both the title and the images.


Investigating Jordan I
Do you think Herbert is being a little disingenuous in Jordan I?
Is his verse is always straightforward?
Is pastoral poetry always complex?
Is Herbert condemning all love poetry?
Is he saying Christian poetry is better than love poetry?




Simple poetry
This poem needs to be read in conjunction with Jordan I, where the significance of the title is explained. In both poems, Herbert is writing about writing poetry, but Jordan II is more autobiographical here, tracing the development of his own style. You may think that all ****************physical poetry is difficult. Here is a poem which suggests a reaction to this. Herbert had started his poetic career with his head full of one conceit after another, but now he realises, as a Christian poet, that this was merely self-regarding and contrived, and what he really needs is simplicity and self-effacement.

It might seem that writing simple poetry is a good deal easier than writing complex poetry but this is not by any means the case. Robert Lowell and W.B.Yeats are two famous poets who began writing highly complex and symbolic poetry, only to produce much simpler poetry well into their careers. Simple poetry does not mean simple-minded poetry. Emily Dickenson's poetry has simple form and diction, but the meaning can be quite abstruse, even hermetic.

Gilding the lily
In Herbert's poem, the first stanza describes his early verse. He had only very straightforward things to say but managed to say them in complicated ways, using conceits: ‘curling with ****************phors’ is his ****************phor for this. There was an element of salesmanship: ‘as if it were to sell’. The second stanza continues this – he had so many clever ways of saying things, he couldn't get them down in time. And he thought this was all to glorify Christ: ‘to clothe the Sun’. The absurdity of this is obvious: the sun is self-sufficient in its own glory. He plays on the sun/Son (of God) word play – a conventional word play which Donne, for example, uses in Good Friday, 1613. Riding Westward.

Who gets the glory?
The line ‘Much less those joys which trample on his head’ hits a jarring note. Andrew Marvell uses a similar image in his poem The Coronet, with which this poem should be compared, since both are about the difficulties of writing genuinely sincere religious poetry. The shocking thought is that what seems to be done in praise of Christ turns out a trampling of his head, because the motivation is really to glorify the poet. Christ is thus betrayed.

The coronet idea is re-enforced in stanza 3 with the ‘weave’ image. This is followed by ‘bustle’, a state of undirected activity. Probably there is an echo of the story of Mary and Martha from the gospels here. Martha was ‘bustling’ round Jesus and was told to sit and be quiet (Luke 10:40-42).

Copy out love
Herbert's resolution is a moment of revelation, when he hears the voice of God. This is a similar device to one used in The Collar. God tells him it's all a pretence, which is ‘wide’ of the mark, and which takes a ‘long’ time to achieve anything. Instead he is told to write about love. Just ‘copy out only that’ and there will be much less effort and a great deal more acceptable in God's eyes.


Investigating Jordan II
Read through Jordan II
The poem has a neat ending but what do you think it takes to ‘copy out love’?
What is the force of ‘copy out only’?
Would you say the poem exemplifies what God tells Herbert to do?
Compare the poem with Jordan I
What do they have in common?
What are their different emphases?
Compare this poem to Marvell's The Coronet
What similarities can you find?


From :

http://www.crossref-it.info/********...l-Poetry/4/250

[TopأناStop]

المشاركة الأصلية كتبت بواسطة دمـدم

ode on solitude

اهلين بنات انا اليوم سألتحصه عنها وقالت لي مو معانا

قلت لها كيف بنات علياء ماخذينها قالت لي

لو جات في الاختياري (الاسئله المقاليه ) لاتختارينها

{{{صدق اللي تقولينه؟؟؟
ربي يبشرك بالخير.........
ويوفق الجميع..:praying:

[Angelica]

اذكر كان في سؤال بالمد عن السفن سليبرز احد يذكره ويعرف اجابته ؟

[ThE lEgEnD]

المشاركة الأصلية كتبت بواسطة دمـدم

ode on solitude

اهلين بنات انا اليوم سألتحصه عنها وقالت لي مو معانا

قلت لها كيف بنات علياء ماخذينها قالت لي

لو جات في الاختياري (الاسئله المقاليه ) لاتختارينها

استهبال هو


HOW COME

لو معلمات الشعر يكونون واضحين معنا كان خفت علينا هالماده الحلوه