High above the broad valley of the Mississippi reposes an expansive and indestructible mansion. The view it possesses is extraordinary. In autumn the valley blazes with gilded trees‚ swept with scarlet. The winter’s display is scarcely less lovely‚ for the valley’s forest is wrapped in the finest lace‚ while in the spring and summer‚ it alive with song. Along the brim of the valley lies Summit Avenue‚ lined with a collection of the stateliest homes in the Mid-west. But the grandest of them all
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ƒæWhat is the tone of Stanza I? Explain. Stanza I has a tone of calm and sensuality created in it. The poet is only depicting the real image he sees in front of him‚ explain the monotony of an Autumn Day "conversing" with the Wind. There are no feelings involved in the depiction of the nature. ƒæHow is the wind both destructive and preserver? Shelley characterizes it as a destructive and fearsome force‚ yet it is also a harbinger of the inevitable coming of Spring. It is‚ therefore‚ both Destroyer
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My full name is Autumn Lynn Schell. I am 16 years old‚ and I was born on October 24‚ 1999 in Reading‚ Pennsylvania. Cheering‚ dancing‚ and tumbling are the activities I love to do. Cheerleading is one of my favorite hobbies; it comes easy to me. My favorite food is macaroni and cheese; I also love oreo cookies. If I try‚ I can be a hard-worker. In certain situations‚ I become extremely impatient. If I contemplate something for too long‚ I get very frustrated and start to overthink the situation.
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Autumn 1 – Year 9 Mark scheme 1. From top left clockwise: Outer core‚ mantle‚ inner core‚ crust (4) 2. Along plate boundaries (1) 3. Alfred Wenger (1) 4. That the continents were once joined as a big land mass (Pangea) and that over time they drifted apart to form what is our earth today. (2) – second mark for Pangea 5. Convection currents (1) 6. Several cycle drawings in the mantle to demonstrate the warm material rising‚ spreading to either side and cooling/sinking. 7. Heat from the core
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Keats focused on death and its inevitability in his work. For Keats‚ small‚ slow acts of death occurred every day‚ and he chronicled these small mortal occurrences. The end of a lover’s embrace‚ the images on an ancient urn‚ the reaping of grain in autumn—all of these are not only symbols of death‚ but instances of it. Examples of great beauty and art also caused Keats to ponder mortality‚ as in “On Seeing the Elgin Marbles” (1817). As a writer‚ Keats hoped he would live long enough to achieve his
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Dialogical Odes by John Keats: Mythologically Revisited Somayyeh Hashemi Department of English‚ Tabriz Branch‚ Islamic Azad University‚ Tabriz‚ Iran Bahram Kazemian Department of English‚ Tabriz Branch‚ Islamic Azad University‚ Tabriz‚ Iran Abstract—This paper‚ using Mikhail Bakhtin’s theory of dialogism tries to investigate the indications of dialogic voice in Odes by John Keats. Indeed this study goes through the dialogic reading of ‘Ode to a Nightingale’‚ ‘Ode on a Grecian Urn’‚ ‘Ode to Psyche’
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Late Autumn‚ 1942 Today is one of those unusually quiet evenings‚ and sometimes‚ it’s so quiet it becomes frightening. It reminds me of a storm. At first‚ it sneaks up on you quietly‚ then the storm intensifies‚ rushing through cities‚ towns‚ or whatever is in its path‚ leaving behind devastation and desolation. That sense of desolation is what I fear the most‚ and that’s what it feels like now. There have been no loud roars of planes overhead or any explosions for over a month. But I don’t mind
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ODE ON A GRECIAN URN: LIFE VS ART Keats’ "Ode on a Grecian Urn" is a balance between the flux of human experience and the fixity of art‚ the contrast between enduring art and ephemeral art‚ and an equation between realism and aestheticism. The indefinite article in the poem refers to how Keats did not refer to any single work of Greek art; but to art in general. The origin of the poem can be traced to various sources: a marble vase in Louvre‚ another one in Louvre depicting a revelry scene‚ the
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Kaitlyn Park CMLT 2220 Flemming 4 November‚ 2012 A Bitter Harvest: Comparing the Autumn of Keats’ and Holderlin In an initial reading of John Keats “To Autumn” and Friedrich Holderlin’s “Half of Life”‚ it may appear to the audience that the two poets are ruminating on two completely different topics. The poets significantly differ in their manipulation of imagery to portray autumn. Keats personifies the season into a goddess that brings the joy of harvest‚ and then consumes the last of its
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"Ode to the West Wind": An Examination of Poetic Devices The poem‚ "Ode to the West Wind" was written in the year 1819 by famous Romantic poet‚ Percy Bysshe Shelley. The poem illustrates to the reader Shelley’s struggle to find transcendence‚ for he believes that his thoughts‚ like the "winged seeds / Each like a corpse within it grave" (7-8)‚ are trapped. It is vitally important to Shelley that his words be set free and spread so that they can inspire political change in Europe‚ particularly in
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