Creative Project

Creative Project
|Name: |Date: |
Graded Assignment
Write Like a Modernist
Over the course of the next several days, you will complete a writing assignment. In the assignment, you will demonstrate your understanding of the
tenets of modernist literature by rewriting a Romantic poem in a way that incorporates typically modernist qualities in terms of language, style, literary
elements, and themes. The assignment is broken down into four parts.
Part 1: Choose a Romantic Poem
Romantic literature champions the beauty of the world and the inherent goodness of human beings, and Romantic verse is highly structured and ... Show
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|
|When all at once I saw a crowd, |As the black fog cleared, I saw a building, |
|A host, of golden daffodils; |Ten thousand crumblecracking bricks; |
|Beside the lake, beneath the trees, |Beside a forsaken hospital, over a glass–strewn street, |
|Fluttering and dancing in the breeze. |Sagging depressed during Tefnut's shower. |
Part 4: Briefly Explain Your Modernist Rewrite
In a response of at least two paragraphs, provide an explanation of the steps you took to rewrite the Romantic poem you selected. Your explanation
should point out at least three typically modernist qualities in your work with regard to elements such as language, style, literary elements, and themes.
Here, as an example, is a brief explanation of the modernist rewrite of the first stanza of Wordsworth's "I Wandered Lonely as a Cloud":
In the first stanza of my rewrite, I tried to drastically change the mood of the poem. I did so by first changing the opening simile, linking the speaker

(who is most certainly distinct from myself as the poet) to a World War I flying ace looking down on an empty town devastated by war. This image
not only
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Romanticism versus Neoclassicism
Neoclassical and Romantic movements cover the period of 1750 to 1850. Neoclassicism showed life to be more rational than it really was. The
Romantics favoured an interest in nature, picturesque, violent, sublime. Unlike Neo_classicism, which stood for the order, reason, tradition, society,
intellect and formal diction, Romanticism allowed people to get away from the constrained rational views of life and concentrate on an emotional and
sentimental side of humanity. In this movement the emphasis was on emotion, passion, imagination, individual and natural diction. Resulting in part
from the liberation and egalitarian ideals of the French Revolution, the romantic movement had in common only a revolt against the rules of classicism.
There are ... Show more content on Helpwriting.net ...
Qualities of "reality," the divine, or divinities may be reflected in nature in Romanticism and we can sense God or the gods through our sensing of
nature.While in Neo_classicism there is a concern for "nature"––or the way things are (and should be). This relates back to the distrust of innovation
and inherent conservatism of neoclassicism. The artistic rules of old, for instance, Pope describes as having been "discovered, not devised" and are
"Nature methodized"; so too, "Nature and Homer" are "the same" (Essay on Criticism 88ff., 135). This belief in "nature" implies a conviction that
there is a permanent, universal way things are (and should be), which obviously entails fundamental political and ethical commitments. The focus on
natural feeling over conventional rules led to an emphasis on the self over the earlier neoclassical emphasis on society. The individual becomes the
source of wisdom and morality, displacing the received set of rules and norms given by society. As a result, emphasis is paced on understanding the
individual's subjective state, especially as it relates to the outside world. Works ranging from Rousseau's Confessions and Reveries of a Solitary Walker
to Wordsworth's Prelude, Coleridge's В«conversationВ» poems, В«DejectionВ», В«Frost at MidnightВ», В«Lime Tree BeautyВ» are examples of the
romantic exploration

Movie Analysis : Dallas Buyers Club Directed By Jean Marc...
MAJOR WRITTEN ASSIGNMENT: TOPIC TWO ESSAY
WORD COUNT: 1893
In film, drama is the most diverse of genres with many subcategories such as crime drama, comedy drama, romantic drama, historical drama etc. Dallas
Buyers Club directed by Jean–Marc Vallee and The Imitation Game by Morten Tyldum both take on the role of producing historical and biographical
dramas. These can be categorized as both films are set in the past to tell a story and through the perspective a certain important person and time in
history. The purpose of adrama film is to touch on realism of a central protagonist and the people that he/she interacts with, to touch on social issues
mostly and go in depth indirectly through a character's encounter with the issue(s). The genre most commonly is known for relying on emotional
techniques that cause sympathy for characters to drive the film to be put into the typical convention of drama. Also, the films focus on building up
characters that the audience can relate and engage with, and social interaction between the characters.
When a person thinks of the genre of drama, the first thing that may be recognized and associated is that the film type strongly relies on emotional
techniques. Especially examples that the audience can relate and engage with. Ron from Dallas Buyers Club 's emotionless first introduction to the
audience makes his small acts of humanity resonate stronger with the viewers. Similarly this occurs with Alan from The Imitation Game 's character;

Tone in William Wordsworth's "The World Is Too Much...
In William Wordsworth's sonnet "The World Is Too Much with Us" the speaker conveys his frustration about the state in which he sees the world.
Throughout the poem the speaker emphatically states his dissatisfaction with how out of touch the world has become with nature. Typical of Italian
sonnets, the first eight lines of the poem establish the problems the speaker is experiencing such discontent about. Subsequently, the next line reveals a
change in tone where the speaker angrily responds to the cynicism and decadence of society. Finally, the speaker offers an impossible solution to the
troubles he has identified. Through each line, the tone elevates from dissatisfaction to anger in an effort to make the reader sense the significance of ...
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Disgusted, the speaker sees how society has morally degraded itself in exchange for wealth and greed. The frustrated tone of the poem becomes
further elevated when the speaker exclaims, "We have given our hearts away, a sordid boon!" (4). Blinded by the daily drudgeries of life, people
have become impervious to nature, despite some of the grand displays that one can behold. The speaker describes beautiful images of nature such as
the sea, howling winds, and flowers that no longer create an emotional response in people. Since the world has become so out of touch with nature,
mankind is no longer able to appreciate the drama that takes place between the wind and the moon. Additionally, the speaker claims that society has
become so indifferent to nature that, "Little we see in Nature that is ours;" (3).
Outraged by society's apathy towards nature, the speaker experiences an angry outburst as he endeavors to respond to this problem. Exclaiming,
"Great God!" (9) the speaker unleashes his fury towards society. He is no longer merely frustrated, but enraged by the unmoved society in which he
lives. In the remaining five lines of the poem the speaker alters his discourse from his disgust towards society, to providing a resolution, albeit an
impossible resolution to this crisis. Rather than become indifferent to nature, the speaker would rather turn to a pagan Greek religion as a means of
lessening his frustration. Since the gods are figures that are intimately

The Eve of St. Agnes, by John Keats
In his poem "The Eve of St. Agnes", John Keats writes of a tragic romantic tale of "two star–crossed lovers" sharing many similarities with William
Shakespeare's "Romeo and Juliet." The poem follows a young man named Porphyro who love Madeline, a daughter of the king of a feuding family.
During the evening of St. Agnes: a day that virginity is celebrated, Porphyro sneaks into Madeline's room with some help and takes advantage of her
while she was in a dream–like trance. Porphyro then convinces Madeline to run off with him into the winter storm that was brewing outside and they
are never seen again. Keats presents his poem in a unique way that allows the audience to have multiple ways to interpret the actions and intents of the
characters.... Show more content on Helpwriting.net ...
The poem becomes darker and Madeline and Porphyro are contrasted as "phantoms" as they "glide" out of the castle and into the storm (Keats 1839).
This shift could have been the result of the heavy consequences that both Porphyro and Madeline have to face because of their actions. Although
Madeline and Porphyro are together, this darker tone seems to shed it in the light that their relationship is now tainted and against all that is good in the
world.
Now that the setting, imagery, and descriptive detail have been taken into account, the decisions and actions of the characters can be examined.
Although she is a minor character, Angela: one of Madeline maids catches Porphyro sneaking around the castle in the middle of the night and starts
the beginning of the consequences of the night. By exclaiming as soon as she catches him, "I will not harm her, from all saints I swear" and saying
that he will throw himself to death at the hands of the guardsmen if he does not see her, Porphyro manages to convince Angela that he truly does love
Madeline (Keats 1834). Against her judgment and fueled by her knowledge that Madeline secret love Porphyro back she reluctantly lead him to
Madeline rooms and hides him in the closet knowing that Porphyro only wants to see Madeline and not sleep with her (Keats 1834 – 1835). It is not
her fault entirely of the consequences of that night cause she was told by Porphyro that he only would watch

A Study Of Female Writers Of Romantic Period
A Study of female writers of romantic period
Introduction:
Various types of literature are found from the advent of English literature. Before the romantic period, there were various other periods like old English
literature, middle English literature, English renaissance, neo–classical period etc. From the beginning we notice that there is an imbalance between the
male and female authors. Male writers are found more than the female writers. This imbalance is also found in the romantic literature. Also it is seen
that, though the majority writers are men, the women are more interested in reading those piece of literature, compared to male. The romantic period
was an intellectual movement originated in Europe during the late 17th century. William Wordsworthis considered to be as the father of romantic
period in one hand, on the other hand William blake is called the father of romantic period. The romantic period was basically a response to industrial
revolution. In this period, the writers wrote about nature, personal experiences, showed the negative side of city life and put more importance on
imagination. Metaphors, symbols are quite common in this period of writing. In this research, I will try to find out the reasons behind the less number
of female writers in the romantic period, was it because their lack of skills, was it because the male writers were dominating or they did write but it
was not published or there are

Beethoven and the Classical and Romantic Periods Essay
Out of all of Beethoven's one hundred and ten works, he wrote thirty–two piano sonatas. Of those thirty–two piano sonatas, the thirty–first piano sonata
was one of the most important and was composed in the year 1821towards the end of Beethoven's life. It is one of Ludwig van Beethoven's final
sonatas for the piano, given the full name: Piano Sonata No. 31 in A–flat major, op. 110. I am writing about a video performance – found on YouTube
– by Richard Goode in 1993. The performance piece is a sonata which is defined by Kerman as "a chamber–music piece in several movements"
(Kerman, 427) The thirty–first sonata came to be in an interesting way. Moritz Schlesinger, in the summer of 1819, had made a request toLudwig van
Beethoven. ... Show more content on Helpwriting.net ...
The second movement launches itself at 6:48 in the video. Like the end of the first movement, the second movement is loud. It is sudden and very,
very noticeable. The second movement is also marked allegro because of the quick, lively tempo that it has. Anyone should be able to easily tell when
the first movement transitions into the second movement. The third movement begins at 8:55 within the video. The third movement is an orderly part
of the piece in which two slow sections of arioso and two fast fugues alternate with one another. This movement begins with an arioso, and you can tell
because the beginning of it is quite slow – especially when compared to the fast–pace ending of the second movement.
This sonata is based on two motifs, both of which you can find within the first movement. According to author Charles Rosen, these two motifs are
"ascending or descending parallel fourths, and rising or falling sixths in scale motion" (Rosen, 235). The most noticeable of these motifs in the sonata
are in the recapitulation of the first movement and in the opening of the second movement which is expressed with a six–note falling–scale motif. The
ascending or descending parallel fourth motifs are present in the main themes of the first movement and the fugue and in the popular theme of the
scherzo. The motifs of the rising sixths can be found in the first movement. The descending motifs – which are similar –

How do William Blake and William Wordsworth respond to...
How do William Blake and William Wordsworth respond to nature in their poetry? The Romantic Era was an age, which opened during the Industrial
(1800–1900) and French Revolution (1789). These ages affected the romantic poets greatly by disrupting and polluting nature. Before the
Industrial Revolution, William Blake wrote about Songs of Innocence.
He also wrote Songs of Experience but after the Industrial
Revolution. William Wordsworth, on the other hand, continued on an optimistic route and ignored theIndustrial Revolution in his poems.
He instead wrote about nature only and its beauty. Previous Augustan poets were more controlled and rule governed. They were also concerned with
order.
In Blake's 'London', he describes the ... Show more content on Helpwriting.net ...
Wordsworth talks about the mind being free and relaxed, "Ne'er saw I, never felt, a calm so deep!" The adjective
'deep' shows how immense the tranquility is. It also shows how the poem is personal, "Ne'er saw I." He sets the scene in the morning, creating a
feeling of calmness and peace, "The beauty of the morning; silent, bare." The noun 'beauty' implies splendor and magnificence, showing the opposite
of what Blake writes about 'London'. The adjective 'silent' is also the opposite of what Blake writes in
'London', "How the youthful Harlot's curse". Wordsworth mentions the daffodils as people, "When all at once I saw a crowd." Similarly, he uses
personification, 'crowd', to imply that everyone is unified in nature. He uses color in his poem to indicate a deeper meaning, "A host, of golden
daffodils." The adjective "golden" illustrates purity as well, therefore connecting it to innocence. The noun 'host' has a slight religious tone, which also
relates to purity. 'The Daffodils' has eight syllables in each line. This makes the poem seem more complex than 'Spring'.
In 'Spring', a lively tone is repeated throughout the poem,"Merrily, merrily we welcome in the year." The adverb 'merrily' is repeated to highlight the
positive tone of the poem and to make it last longer.
The pronoun 'we welcome in the year' also shows us how everyone is unified in nature. Blake uses colour to expand the meaning of the sentence,
"Come and

Richard B. Klaus : A Listening Guide
In his concerto for trombone and orchestra, Concertino in Eb Major, Ferdinand David composed a concerto that would forever change the world of
trombone. Since its original composition in 1837, the Concertino has become a standard piece of trombone repertoire. While it is believed that there
have been changes since the original score was written, it still remains to be a staple in the education of trombone players.
Recent Scholarship Kenneth B. Klaus wrote a book which studies the Romantic Period in Music. In this book, Klaus states in the preface that the
romantic period in music (as well as any other art from) is not a time where everything is the same, but is uniformed in the sense that they are moving
away from the standard form of ... Show more content on Helpwriting.net ...
He and his sister both were child prodigies, and took their music very seriously. Some have believed that David played a part in influencing his sister
to practice the piano, while others believe that she had as much natural talent as he did.
Along with violin lessons with Spohr, David studied music theory with Moritz Hauptmann starting at the age of 13. This is believed to be what
caused him to want to be a conductor and a composer, since he was actively involved in music theory from such a young age. Eventually David began
to study with Felix Mendelssohn who became his primary mentor and inspiration. While in his early years studying under Mendelssohn, David was an
active performer with various orchestras that Mendelssohn had connections in, but eventually David finally packed away the violin and became the
conductor of the Gewandhaus Orchestra. David was the conductor of the Gewandhaus Orchestra for the rest of his life.
While in his last years, David was urged by his doctors not to play the violin anymore. His response was something along the lines of "If I cannot
play, then I do not want to live", which shows his dedication to his craft regardless of age. David is remembered primarily for his transcriptions, a
bassoon concerto, and his trombone concerto.
History of the Concerto
When the Concertino in Eb Major was written, David had just assumed the leadership of the Gewandhaus Orchestra. The reason that the concertino was
written was

Essay on Nature in Context vs. Nature out of Context
Nature in Context vs. Nature out of Context Nature has long been the focus of many an author's work, whether it is expressed through poetry, short
stories, or any other type of literary creation. Authors have been given an endless supply of pictures and descriptions because of nature's infinite
splendor that can be vividly reproduced through words. It is because of this fact that often a reader is faced with two different approaches to the way
nature is portrayed. Some authors tend to look at nature from a more extensive perspective as in William Wordsworth's "I wandered Lonely as a Cloud."
While some authors tend to focus more on individual aspects of nature and are able to captivate the reader with their intimate portrayals of ... Show
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But the second line in this poem, "sometimes whoever seeks abroad may find," was particularly interesting to me for I relate to its feelings of
optimism and accord. In a way it also seems that the second stanza is heavy with sleepiness, with the exception of the last four lines, as displayed in
the above quote with words like the "winnowing wind", "Drows'd", and "sound asleep". The four last lines of the second stanza, as I mentioned
earlier, describes Autumn in pure action, "Steady thy laden head across a brook; /Or by a cider–press, with patient look," by bringing out the true
active lifestyle of what nature truly is. Again, through his imagination Keats is able to embark upon what he is really seeing. The purpose of the poem
becomes clear in the final stanza, and in the warmth of the second line, "Where are the songs of spring? Ay, where are they? /Think not of them, Thou
hast thy music too," where Keats sheds light on the idea that that everything has a purpose. It would appear that Autumn, the season which robs us of
the warmth of summer, where the leaves come tumbling from the trees, the season that prepares the world for a dark and cold winter ahead, has its
purpose too. What would spring be without death, light without dark, but indeed it appears that Keats is thinking of life without death. In this poem,
Keats is able to focus in on the beauty and splendid ness of autumn in order to demonstrate that everything will change according

Ballet and Giselle
ART OF DANCE
NAZ OZBASATAK
Giselle
Giselle is considered one of the great Romantic ballets. Romantic era was late 18th and early 19th centuries. The period mainly does not follow
rational movements but rather Romantic ideas in art influence the ballets. Ballets in Romantic period focus on the conflict between man and nature
where as others try to bring difference to ballets from other nations. Ballerinas stand in the forefront compared to male dancers. Giselle is one of the
most popular ballerinas of the period and separate identity of the scenarist from the choreographers is distinguishing feature of Giselle as being a
Romantic ballet. Both the classical version of ... Show more content on Helpwriting.net ...
There are sharp and expressive gestures. Giselle shows her feelings very clearly and doesn't hide them. Her body movements reflect her happiness,
anger and love obviously. For instance, in the classical one Giselle is not dancing as close as in the contemporary one. They are more formal and
their dance is more elegant. In the contemporary one Giselle and Albrecht dance very close and they touch each other. In one part even Giselle hugs
her love as a woman. These clear expressions are not shown in the classical Giselle. Giselle is more like an adult. She doesn't bend down when she is
sad or she doesn't jump on Albrecht like a child. She reflects the classical period's formal characteristics. There aren't close relationships like touching
her love and jumping on him.
The music is discriminative between two versions of Giselle. Compared to classical one in contemporary ballet music is very modern. Ballerinas
dance figures are compatible with the music as well. Classical dancer Giselle dances at more extreme tempos and perform more technical feats.
However, in contemporary Giselle doesn't wear ballerina shoes and she dances barefoot. Her feats move more naturally. Also her hand gestures alter.
She doesn't bow her elbows and hands in classical dance. She dances in an order without extreme gestures. In the contemporary one she does man
gestures, which is different than her friends as well. Her personality differs since she behaves like a

A Comforting View of Death in William Cullen BryantвЂ™s...
Chuck Palahniuk once said, "The first step to eternal life, is you have to die." In William Cullen Bryant's poem "Thanatopsis", he does not mention
eternal life or anything religious, but speaks about death. He tells his readers that death is a natural thing and they should not worry about it. William
Cullen Bryant, in his poem "Thanatopsis", portrays a comforting view of death. Throughout the poem, Bryant encourages his readers by explaining
that in death they are not alone, that death, like life, is a natural process, and that they will be among some of the finest people who walked the earth.
Bryant uses the fact that we are not alone in death to comfort his readers. Through this, he explains that when people die, they will be ... Show more
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In addition to Bryant's portrayal of death as comforting, he also depicts it as a part of nature. Bryant explains that death, like life, is a part of
nature, which was a loved and cherished aspect of the nineteenth century. In the period of Romanticism, nature was an important ideal; it was
viewed as the source for everything. In "Thanatopsis", Bryant uses nature as a comfort zone, saying that when one dies, they will become a part
of nature. He says that the bodies will be used to nurture the earth. Bryant also mentions that we once were made as a part of nature and that
people will die as a part of it as well. He states: "...and lost each human trace, surrending up thine individual being shalt thou go to mix forever with
the elements." Bryant is saying that bodies will decay and eventually become one with the earth and nature. Along with becoming a part of nature,
Bryant explains that the deceased people will be with some of the finest people who walked the earth. In order to make his readers feel ultimately
comfortable, Bryant also says that when everyone dies, they will be with some of the finest people who walked the earth. By the expression "finest
people", Bryant means all the important figures and contributors in history. He says that people will be resting in the same place as these figures are:
in the earth. He uses this to comfort his readers by saying that by dying, they

A Streetcar Named Desire Film Analysis
In the film "A Streetcar Named Desire", the producers do an excellent job of showing how the film plays with light and dark, illusion and reality,
and brutality conflict. Blanche, Stella, Stanly and Mitch successfully portray the concepts of light vs dark, illusion vs reality, brutality conflict
through various transitions of each. As Blanche arrives at the house of Stella and Stanly, right away you see his mood go into a very dark place as
if he does not want her to be there. Stanly's character in the film comes off to be very rough and aggressive. The night after Blanche arrived, she
meets Stanly's friend Mitch, who is different from Stanly just by the way he carries himself. Mitch and Blanche catch a glimpse of each other
which brings some light back into her being there. Stella was in support of her sister blanche meeting Mitch as it may have been an effective way
for her to comfortably. Light and dark effects in a dramatic film play a big part because it sets the tone of the storyline and helps give the
suspension of where the story will go and end up. It can be good for a film to bounce back and forth from light and dark moments to keep scenes
impactful to the viewer. [For example, in the scene where Blanche buys a cover for the light in the bedroom area, it made her happy, and the others
seemed as if they supported it to make her feel comfortable, and then towards the end of the film when Stanly snatches the cover off the light as he is
angry, it changes the

The Rise Of The Melodrama
The Rise of the Melodrama in the 19th Century
In the nineteenth century, many movements arose in the field of theatre both in the United States and in Europe. Some of the movements that took
place in the west together with the melodrama includes the plays o naturalism, Romanticism, well–made plays of scribes and Sardou, Wilde's
drawing–room comedies, symbolism and the farces of Feydeau as depicted in the late works of Henrik Ibsen. Melodrama is a collective name to refer to
open group of films that the majority of reviewers refers to as romance, thrillers, and drama. The melodrama as a source of entertainment is believed to
have spread rapidly in the nineteenth century due to the growth of industrial revolution and urban development (McHugh 41). It is important to note
that this genre is multi–disciplinary in its nature as it accepts elements from another category of films, hence the open name category. Therefore,
melodrama is one of the widely most appreciated and has attracted the interest of many reviewers since the nineteenth century, hence the rapid rise.
The movies under this category have attracted the attention of many reviewers because of some reasons. The films are widely appreciated because of
their wider exposition of culture as well as sophisticated and rich subject matter. The show of culture and emotional expression that the movie contains
has drastically changed the description of the category from action films to relationship film. Additionally, the movies

Analysis of The Romantic Elements In Sleepy Hollow
In the novel Sleepy Hollow, by Peter Lerangis, several elements of the Romantic period of literature are evident. Themes carry throughout the novel that
suggest a strong Romantic influence upon the text. The story is rich in colorful figurative language and contains a spell–binding plot that leaves the
reader feeling very satisfied. In the midst of such an enchanting story are the Romantic themes, such as a deep appreciation of nature in conjunction
with the condemnation of city life, exaltation of emotion over reason along with the defiance of conventional rules and traditions, and interest in local
folk/ethnic culture, while providing the reader with plenty of attention to the supernatural. Each of these elements combines to create a... Show more
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It is ironic that for the duration of the beginning of the novel, Crane refuses to allow anyone to speak of such theoretically impossible tales as the tale
of the Headless Horseman. However, after seeing the beast for himself, he is pleading with the people of the town that they "must believe [him],"
and that he can assure all of them of the visual contact he made with "a horseman. A dead one. Headless!"(Lerangis 66). With his newfound faith in
the credibility of the legends around the hollow, Ichabod decides that all of the logic and reason he had previously relied on are of no use to him. It
is ironic that one night 's events have changed his views on reasoning so quickly. Nearing the novel 's end, Ichabod burns all of his ledgers and
papers that had held his knowledge over the past several years. In doing so, it is apparent that he has accepted the fact that "sense and knowledge had
betrayed him in Sleepy Hollow"(Lerangis 125). Ichabod 's sense and knowledge are personified in this passage to show the reader that two ideals
which he had held so close to heart and high in regard had proved to be inadequate. This further exaggerates the Romantic ideals of the power of
emotion over all reason and logic. Along with this newfound reliance on emotion rather than reason is a defiant quality of all formal rules and
traditions. All of the other authoritative figures in New York shun

Melodrama Research Paper
Naturalism is defined by the Oxford Dictionary of Literary Terms (1990) as 'a more deliberate kind of realism in novels, stories, and plays, usually
involving a view of human beings as passive victims of natural forces and social environment' (Baldick, p.221). The dictionary states that naturalistic
drama in particular 'usually has a broader application, denoting a very detailed illusion of real life on the stage, especially in speech, costume, and sets'
(Baldick, p.221). On the other hand, melodrama is defined as 'a popular form of sensational drama that flourished in the 19th–century theatre [...] the
modern sense of melodrama derives: an emotionally exaggerated conflict of pure maidenhood and scheming villainy in a plot full of suspense'
(Baldick, p.201). Melodrama came before naturalistic drama, in the early nineteenth–century, but was taken over in popularity in the late nineteenth
/ early twentieth–century by realism and naturalistic drama.
The term melodrama originated from the early nineteenth–century French word mГ©lodrame, which is derived from Greek melos, which means
melody, and French drame, which means drama. Moreover, many of the elements of melodrama are thought to have originated in the fifth century B.C.
Melodrama emerged from eighteenth–century sentimental dramas in Germany and France that involved music, and became popular between the
seventeen–eighties and the seventeen–nineties, with its popularity lasting until the early twentieth–century. In terms of early European theatre, the term
melodrama was used to describe scenes of mime or dialogue which were accompanied by music. However, the more modern definition in the Oxford
Dictionary of Literary Terms comes from the early nineteenth century, where the melodramatic plays being performed in London were somewhat
simplified adaptations of Gothic novels. Melodrama means 'song–drama' in Greek, so therefore the use of music is understandably a very important
feature. It is used to the increase emotions of the audience, as well as to signify different characters. Pisani says in his essay 'Music for the theatre: style
and function in incidental music' that:
Music [was] used to assist the actors in establishing and sustaining the emotional pitch

Analysis Of Dion Boucicault 's ' The Octoroon '
Because the dated and white–biased perspective in Dion Boucicault's The Octoroon does not hold up to modern conceptions of race in America, the
play only remains useful for historical examination; Branden Jacobs–Jenkins, in his adaptation of the work, An Octoroon, examines the historical
implications presented in Boucicault's original work and transforms the story into one more appropriate for the modern era.
Boucicault offers his perspective in The Octoroon from a distance, choosing to weave his message through the action of the play. Zoe's text, specifically,
provides ample context in which Boucicault can introduce the audience to his then–counterculture, abolitionist morality. Zoe reveals his stance on
illegitimate slave children, for ... Show more content on Helpwriting.net ...
The distinction of race in the very first line of the play indicates Branden Jacobs–Jenkins (behind the persona of BJJ) seeks to expose his own
experience as a Black man through the context of The Octoroon. Through BJJ, we learn that Jacobs–Jenkins admires Boucicault and his work, but
notes that "no one cares about [Boucicault] anymore. He's dead" (8). Immediately, An Octoroon begins to examine the role of Boucicault in his work
and his role in the American theatrical canon at large. The closeness to the audience in these moments contrast directly to Boucicault's distance in The
Octoroon; Jacobs–Jenkins confides in the audience, as he says "You people are my therapy" (9) directly to those watching the action on stage. His
confessions alert the audience to the work as a piece of theatre. Jacobs–Jenkins work does not attempt to erase theatricality, unlike Boucicault, who
forsakes theatricality for a constructed realism. Because the audience understands the story outside suspension of reality, the text provides a better
examination of The Octoroon through modern eyes. As the narrative begins and the prologue closes, the audience possesses an awareness of the
original text through the eyes of BJJ. This places the story in a context of critical study and examination from the inception of the adaptation and affects
all aspects of dramaturgy

William Wordsworth 's Poem Of The Bird And Its Song With...
William Wordsworth, Percy Bysshe Shelley, and John Clare were influential romantic poets who sought to learn about themselves and their art by
immersing themselves as nature and utilizing different animals as their muses. These three poets each observed skylarks in their natural habitat and
sought to decipher the meaning behind their songs. From these experiences, each wrote a poem which described their perspectives. Wordsworth,
Shelly, and Clare's Skylark poems are arguably written in dialogue with each other. While Wordsworth and Shelly look upon the bird and its song with
adoration, both seeking to learn from the animal, Clare possesses a much darker conception of the skylark's song, and instead attempts to reprimand
and teach the bird. Their observations and the opinions of the lark are dictated by the season in which they find themselves listening to the bird's song.
Wordsworth and Shelly are envious of the Skylark's freedom to travel wherever it may please, which partially dictates their infatuation with the creature.
Wordsworth declares to the Skylark:
Though hast a nest, for thy love and thy rest: And, though little troubled with sloth, Drunken Lark! thou would'st be loth To be such a Traveller as I.
Happy, happy Liver! (ll. 18–22)
When examining the bird in its natural habitat, Wordsworth acknowledges that it has a home for a family and for relaxation, and yet can still fly
whenever and wherever it may please. While he lives the life of a traveler as

Social Change In The Romantic Era
How Social Change Influenced the Music of the Romantic Era
The Romantic Era was spurred from the defeat of Napoleon. Beginning in the early 19th century, the Romantic Era focused on the romantic aspects of
life. Definitively, romantic means as follows: "conducive to or characterized by the expression of love." The expression of love was the centerpiece of
all romantic music. Emotion–filled. Riveting. Romantic music was able to portray the beauty and melancholy of life. Romantic composers like
FrГ©dГ©ric Chopin, Franz Schubert, and Felix Mendelssohn were able to provoke an emotional response from the listener. Classical music prior
wasn't able to produce the same response from the listener as Romantic music. The question becomes, how did this change in style come about?
Contemporary ideas – specifically the Enlightenment – mixed with modernization saw a break from traditional ways. From this break, composers after
the age of Enlightenment were able to think more freely, and thus compose more freely. The freedom of composition allowed composers to convey the
emotions reflected in the music of the romantic era. Moreover, with the new rising sense of nationalism, compositions were formed with a collective
identity. Arthur W. Locke describes the "romantic movement" as "...the revolution of feeling and thought which came at the end of the eighteenth and
the beginning of the nineteenth centuries". This description highlights the impetus for the romantic movement – feeling and

When Melody and Drama Collide: The Use of Melodramatic in...
Mrs. Dalloway, the early twentieth century novel by Virginia Woolf, paints a picture of the London in one day in the 1920's. It primarily focuses on
the titular character getting ready for a party, and her friends and family coming to the party later in the ending. the only major exception to this is
Septimus Smith, a World War I veteran, dealing with the Post
–Traumatic Stress Disorder that he gained during the war. The passages that describe
Septimus are apocalyptic and devastating to see a man completely unwound like Septimus. By the end of the novel Septimus kills himself by throwing
him out of his house and onto spikes. The author describes this jump as melodramatic. The use of melodramatic in it's original context compared to
the overwrought use of the word in the novel and in contemporary life helps look at Septimus and other characters, like Peter and Sally, in two
different ways an insincere way like the current use of the word and one looking for magic and happy endings in a world completely devoid of theml.
Melodramatic originally meant having to do with melodramas or plays with singing and acting in them. The melo for the use of songs in the plays, and
the drama describing the plays themselves. The current use of the word, and the one used in this novel is an overwrought and sensationalized act or
way of speaking. The original definition brings to mind a sense of walking around with beautiful music, and life being like a play in both it's
perfection, the lovers

Is the Octoroon a Typical Victorian Melodrama
Is The Octoroon a typical Victorian melodrama? The Oxford English Dictionary defines the genre of melodrama as, "a stage play, usually romantic and
sensational in plot", this description certainly applies to The Octoroon. It was an extremely popular form of stage drama and what I will discover is
whether its themes, content and structure are typical of the Victorian period melodrama. From the first time it was presented at the start of the
nineteenth century, melodrama attracted big audiences. It started out very popular with the lower classes in society but as the century progressed
melodrama became appreciated by large sections of society(Leaver,444). It usually contained themes of love, murder and honour. Audiences that went...
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This ending shows me that boucicault altered his play to fit the British publics preconceptions of what a melodrama should be, therefore making it into
a standard melodrama for the time. The fact that the plot in The Octoroon is based around the topic of slavery shows us that it is in someway different
from other melodrama's of the time. Slavery was a hot topic when the Octoroon was produced and some argue that it is abolitionist in its tone. Victorian
melodrama's while sensational, tended to be centered around more common everyday settings and themes. Some argue that the play is abolitionist in
its tone but I disagree. Boucicault himself denied the piece was meant to be an anti–slavery statement(Degen,173). In a letter to The New York Herald
in December 1859, Boucicault explains that he is not taking sides, "I have laid the scene in the South, and, as slavery is an essential element of
society there, insomuch I have been obliged to admit it into my scheme. . . .I believe the drama to be a proper and very effective instrument in the
discussion of all social matters. . . .It is by such means that the drama can be elevated into the social importance it deserves to enjoy. Therefore I have
involved in 'The Octoroon' sketches of slave life, truthful I know, and I hope gentle and kind"(NY

American Romanticism As Portrayed By Walt Whitman 's Song...
Jesha C. Lor
Callis
Modern Civ–LIT
3/21/16
Song of myself (1855)
Narrative (1845)
American Romanticism as portrayed by Walt Whitman's "Song of Myself" and Fredrick Douglass's Narrative American Romanticism focuses on the
imagination, emotions and idealized perspectives of the world. Romanticism is in opposition to the forms and conventions of Neoclassical Literature
and is a reaction to the Age of reason which preceded Romanticism. Reason was ruled out in this era in place of imagination, individuality, and
emotions, which are all three roots that defines Romanticism. Although, Walt Whitman's Song of Myself and Frederick Douglass' Narrative were
written ten years apart, many persons that wrote in this era represented the major ideas and themes of the Romanticism era. As an Abolitionist Romance
Narrative, Frederick Douglass's Narrative consists of a journey from repression to transcendence. The Romantic elements in his Narrative, created the
highest possible effect for abolitionism by not only being highly realistic but, also romantic in nature. Prior to the Narrative, was the abolitionist
movement in which the unique role of African Americans allowed for moral superiority, as the audience could voice one of authority, moral
understanding, and experience. Douglass was the perfect person who had profound intelligence and oratory abilities who could command the kind of
respect capable of energizing that movement. Not only did Douglass's work excite the passions of the

Modern Drama And Modern Criticism
"Nothing is harder to bring to life for a modern reader than the theatre of the past," Michael Booth states in his book, English Melodrama, as an opening
to his chapter "the character of melodrama". Booth resumes by saying that to reconstruct extinct theaters, to inhabit them once again with noisy
audiences, and to light them with flickering candles, harsh hissing gas, and soft multi–colored pools of limelight picking out actors long forgotten,
acting in old–fashioned ways in front of creaking flats and jerking wings, is to make dead eyes see and dead ears hear. After research on this topic, I
realized that the task is even more difficult when the kind of theatre under discussion is now extinct, and toward which modern drama and modern
criticism is unsympathetic. This is the case with the melodrama of the nineteenth century, the most popular dramatic form of its age, a form that
depended more on graphic exhilaration and the thrill of the moment – qualities almost beyond critical recall – than anything ever written for the stage.
Now it is all gone, and I will hopefully through this essay bring some of this back to life. Yet because of its energy and vividness, something of its
nature can be imparted. Melodrama had never been rated highly by dramatic critics or historians, whose most contemptuous word is "melodramatic."
To describe and raise it out of the neglect and contumely where it has generally remained all this century, to show it so that it can at least be

Female Composers And Performers Were Not Very Common
Clara Schumann
Female composers and performers were not very common. If you look back on famous composers, you will find that there are mostly male
composers. Out of the shadows of the males, came in very known composer. Her name was Clara Schumann. Not only was she a composer, but she
was also a famous pianist. Clara started piano at a very young age. A big part of Clara's life was her family. She was a very brilliant composer and
pianist, and that is why we remember her today as one of the most famous composers.
Clara Wieck Schumann was born on September 13, 1819 in Leipzig, Germany. Clara's parents wereFriedrich Wieck and Marianne Wieck. She had two
brothers, Alvin and Gustav. The name Clara means bright or shining. As soon as Clara... Show more content on Helpwriting.net ...
Robert and Clara became very fond of each other, and asked Friedrich if he could marry Clara. Friedrich refused and did all he could to keep them
from getting married. The couple filed lawsuit, and won. Clara and Robert got married on September 12, 1840. They had eight children, and their
names were: Marie, Elise, Julie, Emil, Ludwig, Ferdinand, Eugenie, and Felix. Clara Still kept performing, even without the support from her
husband. Robert too was a composer, but Clara played many of his works for him because he could not perform them due to a hand injury. Robert
became very aggressive and depressive and was sent to an institution. Clara was left all alone to take care of the kids. Clara was not allowed to visit
Robert at the institution, she depended on friends to visit him and sent her letters about how he was doing. It wasn't until the end of his life that she
was finally able to visit him. This is what she wrote about her time with him:
He smiled at me and embraced me with great effort, because he could no longer control his limbs. Never will I forget it. For all the world 's
treasures, I wouldn 't exchange this embrace. My Robert, that 's how we have to meet again. With what effort I had to search for your beloved
expressions. What a picture of pain ("Out of the Shadows...).
Robert suffered from a mental illness and died in 1856. Four of their kids also died before Clara did. Clara focused her music career on Robert 's pieces

John Keats 's On Seeing The Elgin Marbles
Beautiful Belligerence Strive to love and be loved in return; continue to see the world's beauty and fertility. John Keats, and English poet who lived
a short life before dying of tuberculosis, used poetry to express his views on the magnificence of our world. In many ways I have shared Keats view
on beauty, especially since I live on such a vast campus like St. John's. However, anyone can see the sheer awe of the landscape, buildings, and beauty
of the Abbey here at St. John's; Keats would see all of this too, but he also changes our perception by discovering the underlying beauty that lies and
numerous other things that may not stand out like the rest. Through both love and pain depicted in the poem "On Seeing the Elgin Marbles," John Keats
is able to demonstrate how he uncovers the enigma of beauty in our world. Beauty lies throughout every corner of the universe. Poets like Keats
harness this beauty, whether it is seen as beautiful or not, and twist it to have an underlying meaning. When looking at the poem "On Seeing the
Elgin Marbles," it is evident that Keats uses different imagery to portray the beauty that may not seem beautiful at first glance. Imagery such as a
"sick eagle" and also a "billowy main" are used in this poem to describe what the poet is attempting to reveal in this poem. One phrase that I find to
be the most fitting of this idea of underlying beauty is "fresh for the opening of the morning's eye." Not many people would look at waking up

Essay on animals in romantic poetry
animals in romantic poetry
Many Romantic poets expressed a fascination with nature in their works. Even more specific than just nature, many poets, such as William Blake,
Robert Burns, and Samuel Taylor Coleridge all seemed fascinated with animals. Animals are used as symbols throughoutpoetry, and are also used to
give the reader something to which they can relate. No matter what the purpose, however, animals played a major part in Romantic Poetry.
William Blake used animals as basic building blocks for poems such as "The Lamb" and "The Tyger." By using these carefully selected animals to
depict good and evil, the reader truly understands Blake's words. All readers can relate to animals such as an innocent lamb and a ... Show more content
on Helpwriting.net ...
The sight of this louse surprises the narrator, and eventually leads him to the realization that humans see themselves as perfect, judging all others.
Through this louse he realizes what a power it would be to see ourselves as other see us (43) and what fools we are, pretending to be God–like (46–48).
Burns uses animals in his poetry as a way of looking back at man, and seeing through another perspective.
Samuel Taylor Coleridge based his narrative poem, "The Rime of the Ancient Mariner," around the sanctity of nature, especially that of the albatross,
a large sea bird who was a sign of good luck to the sailors aboard the mariner's ship. After the ancient mariner inhospitably kills their good omen,
everything starts to fall apart. The mariner eventually is trapped in a solitary, never–ending penance, telling certain people his story. The people he tells
however, do not appreciate the story because it points out their lack of spirituality, especially in the case of the wedding–guest. Coleridge, like Blake in
"The Lamb," relates animals and nature to Godliness.
In conclusion, many Romantic poets showed a fascination with nature, and especially with animals. They used animals as symbols for many things, or
for another way of viewing the world, but no matter what the use, animals played a major part in the works of Romantic poets. Bibliography:
Blake, William. "The Lamb." The Norton Anthology of English

A Comparison of Blake, Wordsworth and Keats
A Comparison of Blake, Wordsworth and Keats
William Blake, John Keats and William Wordsworth all believe in the "depth" of the world and the possibilities of the human heart. However, each
poet looks towards different periods in time to capture meaning in life. Blake looks towards the future for his inspiration, Keats towards the present
and Wordsworth towards the past. Regardless of where each poet looks for their inspiration they are all looking for the same thing; timeless
innocence. Each poet sought to transcend time by creating works that dealt with life, death, hope and imagination and to discover some kind of deep
truth or meaning in existence. Life and death is an issue that we will all have to deal with at some point in our life ... Show more content on
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Technological advancement and social "progress" were steps backwards for Wordsworth and thus he looked to the past for his inspiration.
John Keats did not have the luxury time that Wordsworth had to look to the past and reminisce about things that were because he knew he did not
have long to live. Even from a young age Keats felt his life would be a short one and he so "he applied himself to his art with a desperate urgency".
Keats died at twenty–six years old and managed to leave behind some of the greatest poetry ever written. He didn't bother to look toward the future
because he knew that he wouldn't live to see it and he didn't look to the past because he decided that it was more important to live in the moment.
Keats was very aware of his own mortality and his poetry reflected the intensity and the passion of a man who didn't have very long to live. His
poetry remains some of the densest prose ever penned because, like his brief existence, he had to condense so much life into so little space. The
thought of impending death would be enough to make anyone fall into hopeless despair but Keats's incredible talents and commitment to live in the
moment perhaps allowed him to three lifetimes. "The Chimney Sweeper" is a quintessential Blake poem as it embodies his belief in looking towards
the future for hope and comfort. Additionally, the poem is a perfect example of a child's movement from innocence to

William Wordsworth 's Poetry :. Eliot And W. Wordsworth
Theories in Poetry: T.S. Eliot and W. Wordsworth T. S. Eliot and William Wordsworth were both well
–known poets, born 100 years apart; both were
famous poets in their own right. Both men were influential in changing the face of poetry as the world had known it. Eliot looked at poetry in a
Modernistic view, while Wordsworth was a writer who chose a Romantic view. Eliot's view seems to be one of disconnect, where Wordsworth's view
is one of emotion and feelings.
Both men wrote with a different flair; Eliot believed, "The progress of an artist is a continual self–sacrifice, a continual extinction of
personality,"(DeVry). While Wordsworth believed, "For all goodpoetry is the spontaneous overflow of powerful feelings,"(DeVry), and he also
believed that men should have, "thought long and deeply,"(DeVry), in regards to the writing of poetry.
Mr. Eliot believed that poetry does not move the poet, but instead, the poetry moved the reader. His approach was that of Modernist, always alluding to
something, with the reader left wondering. He wanted his poetry to be one that was always linguistically perfect, resulting in Eliot not publishing many
poems in his lifetime. Eliot met Ezra Pound who was a literary critic who was influential in helping Eliot's poem, A Love Song of J. Alfred Prufrock
become published. This was probably one of Eliot's best piece's of poetry.
Modernism began somewhere around the 19th century and elevated sometime during World War 1. It came about as artist

The Ilusory Nature Of Romantic Poetry
'The idea that poetry, or even consciousness, can set one free of the ruins of history and culture is the grand illusion of every Romantic poet' (Jerome
McGann). Would you agree with McGann's assessment of the illusory nature of Romantic poetry?
Wordsworth recognises in the Preface to the 1802 print of Lyrical Ballads that he and Coleridge, viewed by many as the most influential pioneers of
Romantic poetry, are guilty of imbuing a "certain colouring of imagination" throughout their poetry. Indeed, Romantic poetry is often characterised by
its fascination with the imagination and the idea that the mind can create a world that transcends the physical senses. In light of this concept that a new
and greater world can be forged through poetry, some credence can certainly be found in Jerome McGann's evaluation that the primary purpose of
Romantic poetry is to "set one free of the ruins of history and culture". However, McGann, in my opinion, also oversimplifies the nuances and
implications found throughout Romantic poetry, and seems to dismiss it as somewhat escapist, or reliant on its displacement from reality to convey
meaning; ultimately, as a "grand illusion". Through examination of works by Wordsworth, Coleridge, Shelley, and Keats, I mean to propose, firstly,
that Romantic poetry varies greatly throughout the period – meaning it frequently defies generic summation. Secondly, that Romantic poets often
directly confront their historical and social contexts, and in many ways,

Essay about William Wordsworth
William Wordsworth
William Wordsworth was born April 7, 1770, at Cockermouth in Cumberland, England. His poetry, and especially his poems on solitude, must have
been heavily influenced by the death of his mother and the splitting up of his family when he was only eight (Kilvert 1). At that time, fate sent him to
live in Hawkshead, England, where his teacher started him writing poetry. Wordsworth got his higher education at Cambridge, his memories of which
play a part in his later poetry (Noyes 201). Fate again stepped in when, as a young man, he received an inheritance, which gave him the freedom to
study literature. One might guess that this is when he first became part of the Romantic movement, (Pinion, 21).
The poetry of ... Show more content on Helpwriting.net ...
Martha was in love with Stephen, who betrayed her by marrying another woman. Martha was pregnant by Stephen, and the rumor was that she had
murdered her baby. The reader feels all her pain when she cries, "Oh misery! oh misery! Oh woe is me! oh misery!" These words express her
heartbreak at losing Stephen; her anguish at finding herself pregnant; her shame at being an unwed mother; her guilt and regret for murdering her
baby; her grief over the baby's death; and her knowledge that her life is ruined. The thorn is a powerful symbol of all this misery. Just as the thorns,
Martha's appearance makes it seem as if she, too, could never have been young. She, too, is "A wretched thing forlorn." By contrast, what seems to
be the infant's grave lies in a beautiful mound of color. Of coarse, the child is innocent and its beauty is forever filled with color; but Martha's only
color is her "scarlet cloak" of shame.
The power of imagination is the theme of http://library.utoronto.ca/www/utel/rp/poems/wordswor43.html "Most Sweet It Is With Uplifted Eyes." The
title, itself, is full of meaning–– when we walk with our eyes "uplifted," we are not looking at the real world around us, but are "dreaming" on the stars.
While the real world may be beautiful, it may also be very ugly and painful. However, imagination gives us the power to block out what is bad and to
create a special world. We can look inside

Beethoven's Sixth Symphony
Beethoven's Sixth Symphony "He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism,
and his influence on subsequent generations of composers was profound" Kerman and Tyson. Beethoven's sixth symphony (also known as the pastoral
symphony) has qualities of both the classical and romantic periods and illustrates Beethoven's revolutionary ideas as well as highlights his classical
influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic
dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven's work such as the balanced phrasing,
the... Show more content on Helpwriting.net ...
He creates this dance–like feel in a variety of ways. Firstly, the 2/4 time signature makes the music feel upbeat compared to the 4/4 time signature of
the rest of the piece. Secondly, the sforzando accent on the first beat of every bar drives the music onwards. Also the catchy, short and rhythmic melody
is lively and metronomic. Finally the fiddle–like manner in which the violins play creates a sense of a dance. There are unexpected changes and
dramatic dynamic changes throughout the trio which are both romantic qualities. The fact that this movement moves seamlessly into the next is also
romantic. The fourth movement is titled "thunderstorm" and is a romantic movement. It is in episodic form (a format of the romantic period). It is
extremely programmatic. The movement depicts a thunderstorm through the use of the timpani that creates the rumble of the thunder and the
punctuated sforzando chords that create a harsh lightning (for example in bar 21). These programmatic features are romantic traits and show
Beethoven's ability to push the boundaries of the style he was contained to. The use of percussion and brass in a dominant role is also a romantic
feature. There are multiple dramatic dynamic changes throughout the movement ranging from pianissimo to fortissimo, which is unusual for the
classical period. The movement also exercises dissonance and the melody is unresolved, a

How does William Wordsworth's poetry fit into the...
How does William Wordsworth's poetry fit into the literary tradition of Romanticism?
Q. How does William Wordsworth's poetry fit into the literary tradition of Romanticism?
A. Romantic poetry was an artistic movement of the late 18th and early
19th century. It dealt with nature, human imagination, childhood and the ability to recall emotional memories of both happiness and sadness. Before
Wordsworth began writing his revolutionary new style ofpoetry, all preceding poetry had a very different style.
The reason these poems were classed as revolutionary was because he believed that romantic poetry should describe "incidents of common life" and
ordinary people and were written in deliberately plain words. It was what ... Show more content on Helpwriting.net ...
She sees her cottage and we see how happy she is.
"and a single small cottage the only dwelling on earth that she loves" "She looks, her heart to heaven"
This shows how happy she is at seeing her cottage, in the countryside that she loves.
However, this soon fades. The images go away and she is sad once again as she goes back to her unhappy life in the city where she feels trapped. This
fits into Romanticism by including most of the main features. It deals with human feelings and how Susan is sad. It includes memories and the use of
imagination. It also shows probably the most important feature, which is a love of nature. We see that Susan feels truly happy surrounded by hills and
pastures.
We also see this in Wordsworth's most famous and well
–known poem
"Daffodils". Wordsworth thought of his poetry as originating in
"emotion recollected in tranquillity". His memories were memories of strong feelings of happiness brought about by something or some landscape
connected to the nature.
In "Daffodils", we again see all the features that make this poem fit into the tradition of Romanticism and Romantic Poetry.

Wordsworth describes nature and says how beautiful it is and the beauty he sees when he looks at the daffodils.
"when all at once I saw a crowd, a host of golden daffodils".
He also uses his imagination to see the daffodils almost as human beings. He describes their movements as, and compares

Disney ' Golden Age Of Animation
1. Disney' golden age of animation a) 1940
b)Though Disney films are considered wholesome and upbeat,characteristic of this era of films is their darkness.
Though they are somewhat eerie and perhaps disturbing, scenes like these are typically sandwiched between two more upbeat and positive scenes,
creating an extreme mood shift that engages all of the audience's emotions. This style of animation also landed the "Golden Age" the nickname
"The Tar and Sugar Era", due to its dramatic jumps from dark to 'sweet'. In just about every way these films pushed the limit of filmmaking. This era
also includes the first and only time that breasts were openly shown in a Disney film, found in Fantasia.
2. Live action open a)Conductor as narrator
b) Reminded of Early Childhood Centers where we encourage children to paint to the music...and having resulting conversations about their
representations. Especially in this first piece! The animation did little to interpret the piece thematically. It was a visual interpretation of the structure of
the music– gestural renderings of dynamics and tempo– With children, fast when the music goes fast, moving up and down...
3.Toccata and Fugue in D Minor by Johan Sebastian Bach a)The Toccata and Fugue in D minor is a piece of organ music written,according to its
oldest extant sources, by Johann Sebastian Bach. Its time of origin, narrowed down depending on author, lies between c.1704 and the 1750s.

John Keats: Ode on a Grecian Urn
John Keats: Ode on a Grecian Urn
Ode on a Grecian Urn is one of the most emblematic poems of the English Romanticism written by John Keats. The urn acts as a time machine which
guides the poetic persona into the antique Greek culture, which faded into oblivion and obscurity throughout the centuries. However this urn still
captures the essence of this ancient yet golden age. John Keats is one of the most celebrated English romantic poets. He is often called as the Poet of
Beauty, because of his very passionate and emotional writing style. The detailed and neat images are very typical of his work, it helps the reader to
get more involved in the world of the poem. He wrote a few other odes, but Ode on a Grecian Urn is probably his most famous one. The title itself is
to express and orientate the reader about the situation, since the word ''urn'' is never articulated. The poetic persona speaks to a Grecian Urn. Ode
was a very popular genre among poets back then in the 19th century, they were written in a sublime style and they portray a very emotional and
elated state of mind. The romantic poets, such as Keats used to admire the Greek culture, it was a popular theme to write about, because it was full of
beauty. In this poem the urn serves as an ornamental element. By the word Grecian Keats tries to refer to the fact that this urn does not belong to his
world, it is more of a relic that left behind. It represents an ancient, antique world. Time plays a crucial

Analysis of William Wordsworth's Poem We Are Seven Essay
Analysis of William Wordsworth's Poem We Are Seven
William Wordsworth's poem, We are Seven, is about a person talking to a young girl about her and her six siblings. Throughout the poem, the narrator
gave the young girl a very difficult time when she persisted that simply because not all seven children were home together, or alive, they were still
seven. The narrator was giving the young girl a hard time because he wanted her to remember and understand that just because she and her siblings are
separated does not make them any less siblings.
Wordsworth says that two of the seven siblings are at Conway. In what way would two siblings being far from home make them be considered not
siblings? Would that not be like saying to a... Show more content on Helpwriting.net ...
In the poem, the little girl says, "Two of us in the church–yard lie, / My sister and my brother; (Lines 21–22)." Insisting that they are still seven, the
young girl shows a lot of grace and mature understanding. This is the majority of the poem because the narrator thinks it is most important that the
young girl understands she has still has five siblings, despite two of them have passed and, "their graves are green, they may be seen (Line 37)."
The girl is only eight years of age and she understands that her deceased siblings are still her siblings even though they are not still living. Making
sure she understands she still has five siblings is exactly what the narrator's goal is, but the narrator is pretending to believe they are only five. The
narrator reinforces his "belief" in lines 35–36: "If two are in the church–yard laid,/ Then ye are only five." The conversation resurfaces later in the
poem, in lines 61–64: "How many are you, then, said I,/ If they two are in heaven?/ Quick was the little Maid's reply,/ O Master! We are seven." No
matter what is said by the narrator, the eight year old girl insists that they are seven. Two siblings being dead is the most reinforced because the
narrator and the little girl know that her siblings at Conway or at sea are anticipated to return home sometime. The other two, the deceased two, will
never return home.
The small gal lightly touches on two of her other siblings who are

Romantic Fiction Of Edvard Grieg
The Romantic Fiction of Edvard Grieg
Edvard Grieg is Norway's most beloved composer. His work in the late romantic era helped to create a national identity for the new country. However,
despite the frail persona he has been assigned by society, his true personality was that of a Bergener, as seen through his letters and essays.
The late Romantic Era (~1790–1910) was a time for experimentation. The individual composers, starting with Beethoven, moved away from the
technical form of the baroque and classical periods. Instead this movement focused on emotions and national pride. Often, the Romantic era is placed
next to the Classical era as an opposite. (Einstein 1980) History often treats Romanticism as a rebellious response to the technical Classical era that
came beforehand. However, there are many overlaps between the two movements. Many romantic pieces followed the general structures and rules that
were created in the Classical era, though many delved into chromatic progression. (Einstein 1980) The largest difference between the two is that
romantic music has richer tones, and was heavily rooted in history. One of the main factors of romantic music is the tie to nationalism, and
country–wide pride. (Einstein 1980) These factors play a role in making Romantic music some of the most fascinating music to be composed.
A composer that encompassed this idea of both rich tones and nationalism is Edvard Grieg. He was born on June 15, 1843, and as raised in Strandgaten,
Norway.

Melodrama and Heaven Allows Essay
Both Rainer Werner Fassbinder and Todd Haynes have drawn on Sirk's film melodramas in their films. Discuss the differences and similarities
between their uses of Sirkian melodrama in their films Ali: Fear Eats the Soul and Far From Heaven. In developing your analysis you should engage
with theoretical debates about these filmmakers's work and theories of melodrama, and you should support your analysis through close reading of the
films
Douglas Sirk, a Danish–German film director, is best known for being the father of Melodrama. He is commonly referred to as a master of the
weepie (Willemen 1972) and has been an inspiration and paved the way for other directors to use and adapt his work. One film that has been
embraced and recreated is ... Show more content on Helpwriting.net ...
In this way, audiences are made aware that if it weren't for Cathy losing the scarf, they would have never embarked on their journey together.
Williams also states that victim–heroes are the focus of melodramas through recognition of the character's virtue, where the victim's point of view is the
main concentration of melodrama. The protagonist's moral virtue ultimately causes immense suffering, thus causing audiences to empathise with them
(Williams 1998). In Far From Heaven, it is Cathy who is the virtuous individual who silently suffers to maintain equilibrium within her family and
society at large. This is conveyed throughout the film as each event leads us to Cathy's (the victim) recognition as virtuous through her suffering
(Skvirsky 2008). In the first half of the film, Cathy decides she will do well by her husband Frank by bringing his dinner to the office as he is working
late. Just as she arrives at his office late at night, Cathy discovers her husband, to her surprise romantically involved with another man. In the latter part
of the film, Frank confronts Cathy. He demands to know whether rumours she had spent the afternoon with a man of colour, Raymond Deagon are true.
Through the course of these events, Cathy gives up the

William Wordsworth 's What Is A Poet?
"Lyrical Ballads" established such a new theory of poetry that it is used to mark the end of the Neo–Classical period of literature and the beginning of
the Romantic period. One of the most touching pieces of poetry in the collection is William Wordsworth's "What is a Poet?" This poem spoke to the
core of my being and broke down barriers that I had been building in my mind years. It had such powerful effects on me because, I have always
enjoyed the beauty of poetry but my relationship with it has dealt mostly with the rhythm in rhyme. I've been performing live with musicians at open
mics for eight years now. I never enjoyed being called a rapper and I never considered myself an actual poet because, I have no recordings nor
published poetry to show for. Even though poetry has always been a part of my life, I've consider it more of a personal release than my life's work. In
"What is a Poet", William Wordsworthdescribed the poetic soul with such depth and accuracy that while I read it, I became completely aware of
the fact that I am a true poet. I have lived with this art form and chased the freedom in it for years because recording has always felt so slavish and
mechanical. William Wordsworth's ability to reflect upon his own poetry and the practice of poetry in general was absolutely astounding. In this poem
he expressed the qualities of a poet, the obligations of a poet, and the common sentiments of poets alike with such perspective that every word still
profoundly

Music Essay on Beethoven's Heroic Style
Moira LohLoh 1 Ms Yang Tien Music Historical Overview 3rd September Beethoven and the heroic style Early eighteenth century marked the
beginning of the middle period, which was said to be the most productive period out of his three compositional periods as some of his most
magnificent works were produced during this time (Lockwood, 194). In this paper, I will examine the heroic style – why it came about, what are some
characteristics of 'heroic' music and through the analysis of a 'product of the times' (Taruskin) , compare the differences between the music of the
heroic style and that of before. The middle period is also known as the heroic period from 1803 – 1812 is after the Viennese period and before the Late
... Show more content on Helpwriting.net ...
An example of these dramatic passages would be on page 2 system 2 measure 1 – system 3 measure 2 of Beethoven's string quartet Op.59 No. 3 where
in the system two, a fast, rhythmically and harmonically dense melody is played and suddenly in the end of system 2 (measure 6) the first violin has a
measure long segmented high violin solo. The sudden change in harmonic rhythm and density make this measure eye–catching already but the fact that
it is in an extremely high register makes it more jarring and immediately transiting into a more melodious section, which leads to theme II in the
expository section. Comparing it to the first movement of Beethoven's String Quartet in F major Op. 18 No. 1вЂЁ– Allegro con brio, where all the
phrases are smooth in texture and run from one phrase to the next without sudden unanticipated stops. Looking at page 1 system 3 measures 3 – 8
where there is a musical conversation between the first and second violins. However, these phrases are still connected unlike in the heroic style many
phrases like this are separated and the accents on the rhythm are very different. Another habit of Beethoven when composing his pieces in the heroic
style would be to insert warlike themes and motifs into his pieces. Some of these themes include death and victory. Loh 4 'Conspicuously dramatic
features in the music must be heard

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