Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Function of Criticism by T.S Eliot, Why Criticism in Literature?, Four Parts of the essay “Function of Criticism”, Tradition and the Individual Talent, I Part: Eliot’s views on critic and critical work of art, II Part: John Middleton Murry’s Essay and Eliot’s Contradiction, III Part: Eliot’s criticism of Murry and function of criticism, IV Part: Relation of Criticism with creative work of art
Ars Poetica, or "The Art of Poetry," is a poem written by Horace c. 19 BCE, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama..."and has inspired poets and writers through the ages
Ars Poetica, or "The Art of Poetry," is a poem written by Horace c. 19 BCE, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama..."and has inspired poets and writers through the ages
Fear no more the heat o' th' sun by William Shakespeare.pdfDhruvita1
LITERATURE
A Short Analysis of the Shakespeare Song ‘Fear No More the Heat o’ the Sun’
By Dr Oliver Tearle
‘Fear No More the Heat o’ the Sun’ is one of the most famous songs from a Shakespeare play, although its context – in the late play Cymbeline – is often forgotten, and is not as well-known, perhaps, to begin with.
Sample writing assignment: Baudelairean
Irony.
The writing assignments have improved significantly in the past couple of modules: the arguments
are clearer and are, in general, well supported by evidence from the texts. I’m still seeing too many,
however, where the main argument emerges in the final sentence or two. When you find that
happening (i.e. when the final sentence or so makes a very different claim from the opening
sentence), you need to start again, using that last sentence as your new opening sentence. Usually
this happens when your argument develops during the course of writing the piece. This is a good
thing as it shows your ideas are developing, but it does mean that you need to rewrite your
assignment to make sure it supports your new or revised argument. As always, I will be looking for
a clear argument, strong textual evidence, and a well-formatted and written response.
Please be sure to provide a Works Cited. This can be in any form you are most comfortable with
(AP, MLA, Chicago, Oxford, etc.), but should make it clear what is being referred to and where that
item can be found.
Please note: the 250-word limit (plus or minus 10%) applies only to the text of your argument. It
does not include the works cited or the heading information.
Sample question: What attitude does Baudelaire adopt to the poor in “Let’s beat up the poor”?
A. Student
Writing Assignment, Module 4
Although the violence depicted in Charles Baudelaire’s “Let’s beat up the poor” might appear to
reflect a negative attitude toward the poor, the prose poem itself resists articulating a clear
position, choosing instead to highlight the shortcomings in contemporary responses to the poor.
The speaker in fact draws attention early in the piece to the debates about economic and social
policy that took place in France in the period by noting that he had consumed books “dealing with
the art of making nations happy, wise, and rich” (37), but the poem’s multiple ironies mean that the
reader is left uncertain about its attitude toward the poor.
The speaker aligns himself with Socrates through a reference to his “Demon” (37), but rather
than engaging in a philosophical conversation, he decides that the best response to the pleading
gaze of a beggar is to beat him up, presumably to show him who has the power and who doesn’t.
This is not, however, an act of bravery in any way: the speaker carefully checks that there are no
policemen in the area. The beggar is initially beaten down, but then rises up to attack the speaker,
thereby asserting the political power of the proletariat. The speaker claims to be thrilled that the
beggar—the representative of the poor—has learnt that he must take responsibility for his own
future and rise up against the bourgeoisie in order to achieve equality, but the reader is left
wondering whether such lessons are to be taken seriously in any way. The focus, in.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
1. Fear No More<br /> Fear no more the heat o' the sun;<br />Nor the furious winter's rages,<br />Thou thy worldly task hast done,<br />Home art gone, and ta'en thy wages;<br />Golden lads and girls all must,<br />As chimney sweepers come to dust.<br />Fear no more the frown of the great,<br />Thou art past the tyrant's stroke:<br />Care no more to clothe and eat;<br />To thee the reed is as the oak:<br />The sceptre, learning, physic, must<br />All follow this, and come to dust.<br />Fear no more the lightning-flash,<br />Nor the all-dread thunder-stone;<br />Fear not slander, censure rash;<br />Thou hast finished joy and moan;<br />All lovers young, all lovers must<br />Consign to thee, and come to dust.<br />No exorciser harm thee!<br />Nor no witchcraft charm thee!<br />Ghost unlaid forbear thee!<br />Nothing ill come near thee!<br />Quiet consummation have;<br />And renowned be thy grave!<br />Meaning<br />“Fear No More” By William Shakespeare<br />“Fear no more” By William Shakespeare William Shakespeare utilizes simplistic language to emphasize the themes in “Fear no more;” however, he exercises complex metaphors to depict the struggles one undergoes during a lifetime and as a result urges the reader to overcome all melancholic sentiments that lead one to oppose a peaceful death. The diction applied in “Fear no more” efficiently creates emphasis on specific sections of the poem. In addition, the euphonic flow used by Shakespeare illustrates the author’s serenity and resignation towards the subject at hand. In essence, Shakespeare’s “Fear no more” employs rhetorical devices such as repetition, appeal to the audience, and imagery to reveal the desired theme. The fundamental theme of this poem is regarding the significance of succumbing to death, for after having a full life everyone must fearlessly face the end. In addition, the poem emphasizes that one should not fight against the arrival of death in any of its forms. In fact, this argument is first introduced in the title and further displayed throughout Shakespeare’s poem. In the first line of all three stanzas, the author begins with the phrase, “Fear no more,” openly showing his belief that one should willingly submit to mortality. Furthermore, the poem’s theme is displayed through the phrase “all must … come to dust.” By acknowledging that death is inevitable for all of humanity, the author attempts to emphasize his belief that one should not “fear” fate. The theme of the poem is also reinforced through repetition. For example, to emphasize his stance, the author repeats the phrase, “Fear no more” in the first line of the first, second, and third stanza of the poem. Once again this occurs with the phrase, “must… come to dust” in the fifth and sixth line of the first, second, and third stanza. This is of importance Vidal 2 because it reiterates that the author’s main purpose is to instill the notion that one should not struggle against mortal defeat because it will eventually come upon everyone, including those that have attained fulfillment from life. In Shakespeare’s first stanza, the theme is applied to a wide audience that may have different fears. In this stanza Shakespeare explains that one should, “Fear not the heat o’ the sun, /Nor the furious winter’s rages; ” for we have completed our “worldly task…/ Home art gone, and [have] ta’en [our] wages.” Through these ideas, the author is stating that once one has done everything in one’s power to help the world (“Thou thy worldly task hast done”) nothing is left to do but to wait for death. In fact, he believes once death is near, there is no need to preoccupy oneself with insignificant worries, such as the changes in the elements. In addition, the poet continues by declaring that everyone, including “Golden lads and girls… must, / As chimney-sweepers, come to dust.” This statement explains that the young and wealthy (“Golden”) as well as the older and poor (“chimney-sweepers”) can not escape death. Thus, Shakespeare he is expressing the opinion that death will follow one’s life, whether good or bad, and is not something to dread because everyone will, at one point or another, have to endure it’s arrival. Throughout the second stanza, Shakespeare continues to stress his idea by addressing other fears and types of people. For example, the author explains that one should not be fearful of other’s thoughts (“frown o’ the great”) or actions (“tyrant’s stroke”). In fact, he continues by stating that our daily routines will no longer be priorities (“Care no more to clothe and eat”) because once death arrives we will lose the ability to feel and compare the objects that surround us (“To thee the reed is as the oak”). In addition, Shakespeare states that “scepter, learning, [and] physic” will also experience demise (“must / All follow this and come to dust”). The poet’s affirmation emphasizes that death is unavoidable for everyone, including those of high status, therefore, one should not attempt to fight it. Overall, by showing that diverse groups will Vidal 3 have to encounter the same event, Shakespeare is able to convey his message that one should not panic when death begins to approach because it is the concluding cycle of every human’s life. Lastly, to emphasize his position, the poet uses the third stanza to bring together the ideas of the first two stanzas; however he adds a twist that stresses the importance of this concluding stanza. For example, he asks the reader, as in the previous stanzas, not to be alarmed by nature (“lightning-flash,” the “dreaded thunder-stone,”) or by those whose careless words or actions (“slander, censure rash”) cause emotional pain. As opposed to the other stanzas, the third does not urge the reader to ignore the small trifles in life. This idea is seen as Shakespeare continues this final thought by stating, “Thou hast finished joy and moan. / All lovers young, all lovers must / Consign to thee, and come to dust.” This statement attempts to show that once one is dead one can no longer enjoy the happiness (“joy”) or the distress (“moan”) that we are allowed to experience during a lifetime; therefore, we should take advantage of the time we have left. In addition, this line further reiterates the author’s theme that all, including those that are blessed with emotional happiness (“lovers young, all lovers…”), will have to leave this world. Ultimately, the third, and final, stanza serves as a summary to the rest of the poem, successfully leaving the intended theme inculcated in the reader’s mind. The use of imagery in Shakespeare’s “Fear no more” allows the reader to relate to the poem by permitting a view of the individual fears that the people must try to overcome. The images that are seen throughout Shakespeare’s poem are those of nature and different people as well as actions that cause emotional or physical pain. The images of people serve to characterize everyone’s differing traits, whereas, the images of nature and of careless actions represent situations that cause pain and emotional distress. For example, the words, and phrases, “Golden lads and girls” (line 5), “chimney-sweepers” (line 6), “scepter, learning, physic” (line 11) and “lovers young, all lovers” (line 17) serve to illustrate the difference in age and status of the people Vidal 4 that will walk to the same, inescapable path. Furthermore, the poem is endowed with images that portray (nature’s and perhaps one’s) uneasiness and affliction, such as “heat of the sun” (line 1), “furious winter’s rages” (line 2), “frown” (line 7), “tyrant’s stroke” (line 8), “lightning-flash” (line 13), “thunder-stone” (line 14), and “slander, censure rash” (line 15). These words and phrases have negative connotations; however, each is preceded by the phrase “Fear no more” which in turn highlights the poem’s theme and the significance of not being overwhelmed by one’s fears. Thus, the imagery utilized inflicts emotion upon the reader, which in response grants him/her the ability to correlate to the poem. On the whole, William Shakespeare utilizes effective literary tools to create a successful composition. Through language, and the reference of different age and social groups, Shakespeare creates imagery that is essential to the context of the poem. In addition, the ideas presented allow the reader to relate to the theme of the poem, which urges all to encounter death without having to fear it. For example, the powerful emotions that are granted by the poem may have been inspired by Shakespeare’s personal experiences, such as seeing the fear in a person’s eyes when they knew they were nearing death. Therefore, it is important that one does not become absorbed with melancholy or despair, but instead realizes that one should, “Fear no more, … [for we] must [all] come to dust.” Vidal 5 Fear no more Fear no more the heat o’ the sun, Nor the furious winter’s rages; Thou thy worldly task hast done, Home art gone, and ta’en thy wages. Golden lads and girls all must, As chimney-sweepers, come to dust. Fear no more the frown o’ the great; Thou art past the tyrant’s stroke; Care no more to clothe and eat; To thee the reed is as the oak. The scepter, learning, physic, must All follow this, and come to dust. Fear no more the lightning-flash, Nor the all-dreaded thunder-stone; Fear not slander, censure rash; Thou hast finished joy and moan. All lovers young, all lovers must Consign to thee, and come to dust. William Shakespeare (1564-1616)<br />About author<br />William Shakespeare (baptised 26 April 1564; died 23 April 1616)[nb 1] was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[1] He is often called England's national poet and the quot;
Bard of Avonquot;
.[2][nb 2] His surviving works, including some collaborations, consist of about 38 plays,[nb 3] 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.[3]<br />Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.[4]<br />Shakespeare produced most of his known work between 1589 and 1613.[5][nb 4] His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights.<br />Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's.<br />Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence that George Bernard Shaw called quot;
bardolatryquot;
.[6] In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world.<br />William Shakespeare<br />The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London.<br />Born Baptised 26 April 1564 (birth date unknown)<br />Stratford-upon-Avon, Warwickshire, England<br />Died 23 April 1616 (aged 52)<br />Stratford-upon-Avon, Warwickshire, England<br />Occupation Playwright, poet, actor<br />Literary movement English Renaissance theatre<br />Spouse(s) Anne Hathaway (m. 1582–1616)<br />Children Susanna Hall<br />Hamnet Shakespeare<br />Judith Quiney<br />Relative(s) John Shakespeare (father)<br />Mary Shakespeare (mother)<br />Signature <br />A Fairy Song<br />Over hill, over dale,<br />Thorough bush, thorough brier,<br />Over park, over pale,<br />Thorough flood, thorough fire!<br />I do wander everywhere,<br />Swifter than the moon's sphere;<br />And I serve the Fairy Queen,<br />To dew her orbs upon the green;<br />The cowslips tall her pensioners be;<br />In their gold coats spots you see;<br />Those be rubies, fairy favours;<br />In those freckles live their savours;<br />I must go seek some dewdrops here,<br />And hang a pearl in every cowslip's ear.<br />Meaning<br />Cowslips are indeed flowers and they have a little pearl like drop hanging down in them that is what the last line is about, its talking about a fairy flying around enjoying spreading dew drops on the plants<br />