One of the first things that strikes the reader on coming across Amy Lowell's poem, "Patterns" for the first time is the unusual application of imagery and free verse as well as its loosely repetitive, yet cleverly effective rhythmic pattern which fits the theme and the title to perfection.
It ends in a searing cry, a defiant question against the imposed patterns of patriarchal society, patterns which allow for the senseless destruction of war, but which in Lowell's time did not allow a woman a sense of pride in her own femininity. At the same time there is a comparison with the patterns of nature, not only of a winter that will follow summer but of the daffodils and swills which are free to sway with the breeze and feel the beatitude of nature, from which the brocade insulates the "softness of a woman".
The narrator is a society woman of Lowell's time, a perfect combination of fashion and propriety expected of women in those times: "In my stiff, brocaded gown./With my powdered hair and jewelled fan, I too am a rare/Pattern". Her own description of her clothes is significant, her hair powdered to perfection and jewelled fan festoon the conventional female image of a decorative appendage, and she is well aware of it.
And it does not stop there. ...
Nor is it lost on the wearer who protests against the gown exclaiming, "What is Summer in a fine brocaded gown!/I should like to see it lying in a heap upon the ground", almost a clarion call for freedom from the repressions and inhibitions imposed upon a woman.
The language in the poem is easily understood, a condition of Imagism which encouraged "common speech". Additionally, the word usage is not merely decorative: each word makes a distinct, concentrated sense and adds to the meaning of the poem as a whole, another requirement of the Imagist movement which was opposed to the grandiloquence of Victorian poetry. When the narrator describes her inconsolable grief, there is not a word less and not one extra in the lines, "And I weep;/For the lime-tree is in blossom/And one small flower has dropped upon my bosom". One can almost see Nature mourning her loss with her, and the relentlessness of her grief hits home with: "The dripping never stops".
The choice of words gets syrupy in places, almost reminiscent of a vapid romance novel, " A bright and laughing maze for my heavy-booted lover,/Till he caught me in the shade, /And the buttons of his waistcoat bruised my body as he clasped me,/ Aching, melting, unafraid". It is as if the narrator's inherently sensual nature having broken its bonds has taken recourse to the most hackneyed of all phrases to leave no doubt in her own mind, and that of her invisible audience, about the direction her thoughts are taking her.
The distinctly erotic imagery that is evoked by such a choice of words is a kind of catharsis for the womanhood bound in hooks, lace, whalebone and brocade, a feministic avowal of the right of a woman to the abandonment of nature, free from externally ...
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(“English Society and Literature Book Report/Review”, n.d.)
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(English Society and Literature Book Report/Review)
“English Society and Literature Book Report/Review”, n.d. https://studentshare.net/literature/284053-english-society-and-literature.
A language is that tool that assists human beings in expressing themselves. The way a particular language has come up depends on its history, the culture that complements it and various factors like the functional use that first triggered the need to coin certain words or principles of use for spoken and written purposes.
Religion has always taken a significant role in the regulation of sexual conduct. In the past centuries, social norms and prescriptions were mainly founded on the teachings of the church. Defying these religious doctrines with regards sexuality and the conduct of relationships between male and female often had dire consequences.
This was due to the fact that during the author, Charlotte Bronte's times women were not considered equal to men and even Bronte had to publish her book under a pseudonym because it was considered immoral and rebellious in that society. Through this example, we could make out that any theme which runs in the story is actually the picture of the social and cultural context of that society.
She worked on a small scale, describing small social groups in provincial environments, and is often accused of being too real in her examination of the nature of society, marriage and family, and how these affected and shaped each other.
The theme of marriage was ubiquitous in her writings because for a young lady of those times it was the only way to attain a degree of dignity, freedom and self-respect, and in some cases, even the barest essentials for survival.
Then, in 1970, the four-serial television movie "Holocaust" was shown that made this theme so constant and general that it became a part of schools and higher educational institutions curricula.
How often, even within one generation, we witness the change in treatment of historical events by official history, presented in the school and university textbooks.
The English countryside is replete with the most amazing vegetation as well as wildlife and other such features.
It has been commonly believed that to own a home in the English countryside implies being a part of the jet set with great wealth at one's disposal.
Both works, as shall be argued, undertake a brutal deconstruction of human society with the explicated purpose of illustrating the extent to which the perversion of norms and nature have culminated in the isolation of man from his own social setting and, in the case of Gulliver, from his own human persona and self.
The immortal writings of William Shakespeare inform the world of the Elizabethan society in its splendour and beauty, and also in its seamy sides. A valuable picture of German society of that time is made available to all from the works of Goethe. The Russian society under the Tsar finds itself reflected in the creation of Tolstoy.
Among these is The Cruell Shrow by Arthur Hilliarg which was published in 1673. It is among the Roxburghe Ballads and one of the admired anti-marriage literary pieces. However, nothing much has been written about Hilliarg.
Hilliarg's work opened my eyes to the misery of a man who has been unfortunate to have ever married a nagging wife.
Now let us consider the main examples of such changing identities in Jane Austen's 'Pride and Prejudice' and 'Fathers and Sons' written by Turgenev, paying attention to the way they are presented through the narrative techniques.
In her novels Jane Austen makes the special accent on the moral aspect of life, considering that a moral feeling are not originally inherent, it may be developed gradually, as a result of lessons obtained from life.
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