Extended commentary of The Darkling Thrush by Thomas Hardy Essay Example for Free

Extended commentary of The Darkling Thrush by Thomas Hardy Essay On the title: A thrush is a bird; plump, soft-plumaged, small to medium-sized, often inhabiting wooded areas. They feed on the ground or eat small fruit – but aren’t famed for their songs. Examples include a robin. ‘Darkling’ is an archaic word for ‘a creature of darkness’ or ‘in the dark’. Hardy uses it in its latter sense – the bird appears in a very gloomy scene, at the end of the day, at the end of the year (and century, for that matter). It also has negative connotations as well, however – for obvious reasons. Potential other implications: ‘darkling’ is perhaps used to create a diminutive form of the thrush (like a ‘duckling’). Other critics have identified the title as explaining, or preparing the reader for the unexpected advent of the bird half way through the poem, appearing into the scene from nowhere. Perhaps Hardy was attempting to use an antiquitated word to further demonstrate the bird is bringing joy to a dark land, and that there exists an enormous time difference between the new century and the old? Overall Structure: Hardy uses four regular eight line iambic stanzas; in either ‘tetrameter’ or ‘trimeter’, depending on the length of the line. This meter creates a poetic lilt, with alternate stressed feet. It seems very out of place in such a depressing poem we must question why this is. Does it reflect the hope expressed at the end of the poem, or prepares us for it? Or does it tell of an oddity within the persona; is his negative manner actually genuine – perhaps we shouldnt accept the persona’s judgment/emotions to the same extent as hed like us to? His choice of rhyme scheme and meter along with the harsh subject fail to match up. Themes: Time (passing of century), Isolation, Man and the Natural World. Difficult Language Notes: ‘Darkling’ – discussed above. ‘Illimited’ is an archaic form of ‘unlimited’. First and Second Stanza Notes: As usual, Hardy presents us with an image, this time of a landscape – a depressing one, at that. This poem was published at the end of the century – 31st December 1900 (Hardy was one of those people who believe that a century is complete when the hundredth year is over.) It is very cold and frosty and the day is growing to a close. It really is the end of a century. And Hardy presents us with a very clear image of death – he later personifies the Century itself as being dead. The first two stanzas are full of death-language: 1. â€Å"When Frost was spectre-gray†. A clear example of ghost imagery (‘a spectre’). This line is of interest on its own, due to the obvious personification of ‘Frost’. This is a good place to make a key note about the poem itself. Throughout, we discover a distinct Hardy-esque style; the environment is unpleasant and it demonstrates his usual antics in animism. Hardy develops complex (and often deeply personal) symbolic systems which deal almost exclusively with the natural world. The reader is made personal with non-human entities like frost and birds but avoids people – even the persona is a subject avoided in great detail. 1. Back with the ‘death imagery’, â€Å"The weakening eye of day†; a comment on the darkening sky – the day is dying. 1. â€Å"All mankind that haunted nigh† – haunted is clearly a reference to death and ghosts. Hardy is commenting on the lack of human life in his scene; they â€Å"had sought their household fires†. A further indication of the low temperature. Is it a hint that the world is ending? Or is that just a little extreme? In any case, note how the rest of humanity are seeking light in an otherwise dark environment. The second stanza contains an extended metaphor involving the dead century, but we need to examine the first stanza more before moving on. Hardy’s persona is leaning upon a coppice gate – a gate into a small woods or ‘coppice’. It is a highly ambiguous persona (another thing to explore), but he leans nevertheless. The scene is wintry, indeed, along with Frost, Winter is personified equally – â€Å"Winter’s dregs made desolate/ The weakening eye of day.† The dregs of the season indicate a very cold atmosphere; one without much colour. Clearly this has emptied the scene of any colourful sight upon which the â€Å"eye of day† weakens. The day is ending; thus dusk darkens the scene. â€Å"Tangled bine-stems scored the sky/ Like strings of broken lyres†. As before mentioned, the persona is standing in woodland, thus â€Å"Bine-stems† are tree branches. Hardy’s comparison of them to broken lyres is interesting. Lyres are a) harmonious in Classical literature and b) belong only in Classical literature. Hardy is clearly stating that the scene is not ‘harmonious’ or perhaps the ‘death-lament’ later mentioned isn’t. Or is it also a reference Hardy’s romantic passion for the past, that it was somehow better than the day in which he writes? Second Stanza Notes: The first four lines of this stanza deal explicitly with Hardy’s ‘dead Century’ metaphor. He imagines the land before him as â€Å"the Century’s corpse outleant.† Quite what ‘outleant’ means, I have no idea, (The OED has confirmed that ‘outleant’ is not, nor ever has been a word) but â€Å"his crypt [becomes] the cloudy canopy† (the cloudy sky) and â€Å"the wind his death-lament†. One need not explain it in any more detail; the implications are quite explicit. Hardy’s persona clearly didn’t approve of the past century, but had yet to indicate an emotional reflection on the future. He imagines England as a rotting corpse, essentially. However, note the use of the verb ‘seems’ – is all as it seems? However, Hardy goes on to write even more damningly of his persona’s scene. ‘The ancient pulse of germ and birth’ – the regenerative power of life, following Winter’s onslaught – ‘was shrunken dry and hard’. Nothing appears to be growing back – is this another indication of the end of the world, or certainly of an era. Hardy appears to be making the simple change of an arbitrary number into something quite different, and more serious. A degeneration of life itself. Indeed, â€Å"every spirit upon earth/ Seemed fervourless than I.† Very negative. Observe how silent the description is up to this point in the poem. There is an implied sound in both the death-lament and of broken lyres, but otherwise, the sound is non-existent. That changes soon. Here comes the VOLTA. Third Stanza Notes: â€Å"At once a voice arose among The bleak twigs overhead In a full-hearted evensong Of Joy illimited;† Hardy emphasizes a sudden change with the words â€Å"At once† – indeed, there are multiple changes which create this volta: * Note the sudden inclusion of sound – the thrush is singing! This breaks the poetic still (of death) which has held the poem so far. * The length of ‘sentence’ also changes. Note the semicolon at the end of these four lines above. Previously, each quatrain had completed with a full stop. Perhaps Hardy is opening up his poetic form to mirror the sudden movement in the lines themselves. The use of enjambment accentuates this. There are perhaps religious connotations with ‘evensong’. Much as Hardy may simply be again referring to the mundane fact that the bird is singing a ‘song’ and ‘eve’, we pray that the man is capable of higher minded comparisons. These vaguely religious nuances are maintained throughout the poem. The crucial fact is that the mood has changed, perhaps. â€Å"Of Joy illimited† suggests a pleasant image, which stands in stark contrast to the surrounding gloom. â€Å"An aged thrush, frail, gaunt, and small, In blast-beruffled plume,† Yet the mood is suddenly plunged back into the red with Hardy’s following lines. The thrush, which is, admittedly, a very odd bird to chose (not famed for their song), is an elderly figure in a storm – hence the ‘blast-beruffled plume’. In this otherwise grim situation, the reader’s immediate concern is whether the bird itself is going to survive at all! The use of â€Å"frail, gaunt, and small† mirrors the ghoulish imagery used in the first two stanzas – the thrush is alive, for certain, but perhaps the persona questions for how much longer? Note how the thrush is NOT personified. Every other element of the natural world takes an animated form, but not the bird! Why does Hardy do this? â€Å"Had chosen thus to fling his soul Upon the growing gloom.† Perhaps desperation is the key word in this stanza, but also hope. There is a powerful message in the face of this ghoulish bird; that, in spite of all the darkness and death, the thrush maintains his song. Stanza Four Notes: â€Å"So little cause for carolings Of such ecstatic sound Was written on terrestrial things Afar or nigh around,† Once again, Hardy’s use of enjambment allows for the lines to ‘bleed’ into each other – in a direct contrast to the poem’s former rigidity. Perhaps he is now gathering momentum for a change in mood? Yet, in terms of sense, Hardy appears to be doing the opposite. He states that the bird has no reason to be singing a joyful song amongst so much desolation. However, perhaps, by even considering such a fact, the persona’s own deep-rooted pessimism is beginning to shift away? On some key language points: * Note more religious emphasis: ‘carolings’ typically sing hymns at Christmas time. Hymns are definitely religious! * Perhaps there is an equally religious connotation which Hardy applies to his comments on the ‘terrestrial things’. If there is not any cause for singing about things on Earth, then perhaps, reciprocally, there is cause for celebrating the sky, or heaven? â€Å"That I could think there trembled through His happy good-night air Some blessed Hope, whereof he knew And I was unaware.† It is a rather ambiguous ending upon which Hardy chooses to conclude, but he achieves a sense of dramatic effect through it. The persona realises the presence of (a perhaps religious) hope, in the fact of utter desperation, but it is unintelligible to him. In an odd way, the reader is forced to consider whether the persona is being entirely accurate: * Can one be unaware of something, yet still able to write about it? * Does this tell us that the persona, as a Modernist, is able to perceive such an uplifting messages but unable to interpret them in such a way as to ‘release’ himself from the ‘dark’? Hardy himself was a modernist and therefore dwells upon an odd lot of ideas. Amongst them was ‘searching for hope/meaning to darkness and cruelty’. Despite being a realist, he was deeply influenced by Romantic notions (look them up) – perhaps this exploration is one of them? * The use of ‘blessed’ again implies a deified presence within the thrush’s message. Is the persona experiencing some divine inspiration?

Marriage Proposal in Pride and Prejudice Essay -- Pride Prejudice Essa

Marriage Proposal in Pride and Prejudice During "Pride and Prejudice" there are six examples of marriage proposals to consider. Throughout this essay I am going to be commenting on the proposals between Mr Darcy and Lizzie the first time, Mr Collins and Lizzie, Mr Collins and Charlotte as well as Mr Bingley and Jane, Wickham and Lydia and the second proposal of Mr Darcy to Lizzie. Whilst looking at these proposals I will also be analysing the aspects of Love, Money, the relative status and class and the views of others, which might have influence within these proposals. The first proposal I am going to analyse is Mr Darcy to Lizzie. Mr Darcy proposed to Lizzie in Kent at Mr Collins and Charlotte's house when Lizzie was visiting them for a few weeks and Mr Darcy was staying with Lady Catherine De Bourgh, his aunt. Mr Darcy and Lizzie were first acquainted with one another at Netherfield's, which is the neighbouring estate to Longbourne, Lizzie's family house. They met at a ball, which was held by the new lodger Mr Bingley at Netherfield's, and Mr Darcy was there as a friend of Mr Bingley's who hosting the ball for his new arrival to the village. Lizzie and Darcy didn't get on at first as Lizzie thought he was arrogant and unsociable. But Mr Darcy's dislike for Lizzie gradually grew to love for her. It seems that the continuation of this dislike was all a cover for his real feelings as he did not want to love or marry a woman who was beneath him in every state, money and status and especially the views of others would of discouraged him to act upon his feelings for Lizzie as he was thought of as much more superior to Lizzie and her family and at that time it was thought of as wrong or unheard of to mar... ...an to get married over that age. There were also many issues that a woman had to think about before they got married, whether they were in love which wasn't a major issue but it was though of as a bonus if they were. Money and status played a huge role in deciding who to marry, rich men went for women of the same class or a bit higher which made it difficult for woman of a lower class or without much wealth to marry a wealthier or higher classed man. It was thought of as unethical to marry someone beneath you in any state. The influence of others played a big role in those days as people were put under a lot of pressure to get married as soon as possible and to someone higher up the society ladder. As you can see the attitudes to marriage in the 19th Century in which these characters lived in is very different to the attitudes in which we live in today.

Abigail williams Essay

In 1692, in the town of Salem, Massachusetts, several young girls experienced a conjured illness, triggering the beginning of mass hysteria in the town. The unexplained illnesses were thought to be the devil’s doing; using witches to stain the town. The hysteria spread within the strictly religious town and allowed for revenge and old jealousies to be rekindled. Women and men fell victim to the young girls and were condemned to hang. The unimaginable events that took place became known as the Salem Witch Trials. The trials brought Arthur Miller to write The Crucible, depicting the unfortunate events. Throughout The Crucible, a young girl named Abigail Williams uses her cunningness and deceitfulness to get what she wants. Her jealousness and lack of moral and ethics gives her the ability to condemn innocent beings to death, without any questions. Abigail Williams is seen as â€Å"seventeen and strikingly beautiful† (138). However, she is selfish, and an excellent liar. When questioned about what had happened in the forest, she saves herself by saying she and the girls were only dancing. Abigail lies with the intention of keeping herself out of trouble. Abigail is later interrogated about the night before. She says it was Tituba’s idea and Tituba immediately confessed. Abigail is jealous and sees how Tituba is praised after she confesses; as Gods light in the world, looking for evil. Abigail accuses several women of working with the Devil so she too can be praised (158). Everyone looked beyond her deceptiveness and thought what Abigail was saying true. Abigail’s jealousness of Tituba provoked her to accuse innocent women of witchcraft. Abigail is also dark and cruel. She says to Betty and Mercy that if they speak a word of what happened in the woods, â€Å"I will come to you in the black of some terrible nights and I will bring a pointy reckoning that will shudder you† (144). Abigail proves she would do anything to keep herself out of trouble, even if it meant murdering her cousin. Abigail transforms to a terrifying young woman, who has the capability of accusing innocent townspeople. This power fills Salem with fear to speak out against her. Her elaborate strategies and devotion make her undefeatable. She becomes more ruthless and bold in her accusations. She accuses Elizabeth Proctor of being a witch, who was a good woman and well respected within the Salem community (172). Abigail stabs herself in order to put Elizabeth in the blame, revealing her dedication to the  accusations. Her perseverance and conniving schemes give the townspeople no other choice but to believe what she is saying. Abigail is a merciless villain, who acquires the power to accuse several more women in the town of Salem. What was once fourteen accused escalates into thirty nine, almost overnight. Fear is present in all the townspeople, who are afraid Abigail would seek revenge on them. When Proctor states Mary must tell the courtroom Abigail is lying, Mary warns Proctor she will accuse Proctor of lechery (174). Proctor is surprised Abigail told anyone about the affair. Abigail evolves into a cold-hearted girl who would do anything to get what she wants, including accuse the man she claims she loves of lechery. Abigail’s transformation into a villain motivates Proctor to go to the courtroom and prove Abigail is not blameless. Abigail continues to be a heartless girl, set on destroying lives of women and men in Salem. Her humanity seems to disappear completely, as she accuses more and more women. She has a huge impact on the girls, who are too terrified to confess they were only pretending to be witched. Abigail targets and manipulates weak Mary Warren, a girl who used to be her friend. â€Å"†¦A wind, a cold wind, has come (her eyes fall on Mary Warren)† (188). Abigail lost all the emotions she had for Mary Warren and Proctor, accusing them both of witchcraft. She evolves in to a selfish girl, who craves the attention and power she receives from Salem. Her power seems too much for Mary Warren to bear, as she returns to Abigail’s side. She becomes lustful for power and control, denying any accusations made against her. By first accusing the town drunk and homeless woman, her credibility sky rockets. She had the confidence to accuse Elizabeth, a woman who is highly respected. In order to fulfill her fantasy with John Proctor, Abigail losses her conscience and condemns anyone who interferes with her plan. Her continued ruthlessness and confidence invokes intimidation in all of Salem. She takes complete advantage of Salem’s ignorance to satisfy her desires. The trials end in nineteen innocent people being hanged. The town’s attitude towards the execution changed into sympathy for the people who had fallen victim to the girls. Mass hysteria can turn seemingly innocent girls into cold-hearted killers who inflict pain on others. Works Cited Miller, Arthur. The Crucible. McDougal Litell Literature: American Literature. Evanston, IL: McDougal Litell.132-208. Print

Involvement of Canonical Insulin - 687 Words

To look at the involvement of canonical insulin/PI3K/Akt pathway in adipocytes leptin secretion the study measured it using insulin resistant DIO mice with HFD and CD fed mice, with the HFD mice gaining higher body and fat mass. Cell lysate of both HFD and CD fed mice were subjected to western blotting and it was observed that phospho-Akt level in adipocytes from HFD fed mice was lower than the CD fed mice after insulin stimulation, showing insulin resistance in the HFD fed mice. Also, the fasting leptin level of HFD fed mice is ten times higher than the CD fed mice. Refeeding, resulted in no significant increase in plasma leptin levels in HFD fed mice after two hours, whereas with the CD fed mice there was a significant increase in plasma leptin levels. This implies that leptin production and/or secretion after refeeding is impaired in HFD fed mice. To verify that there is a decrease in systematic leptin level, the researchers isolated primary adipocytes from HFD and CD fed mice and then determined ISLS in ex vivo. The result was that ISLS was significantly lower in primary adipocytes from HFD fed mice. This supports the hypothesis that impaired ISLS in HFD fed mice in vivo and ex vivo was dependent on PI3K/Akt activation. Furthermore, there is an essential role of PI3K/Akt in regulating ISLS in primary adipocytes as seen when blocking PI3K activity with wortmannin. This significantly inhibits ISLS without affecting basal leptin secretion. Also, AKT 1/2 inhibitor AktiShow MoreRelatedDevelopment Of The Mammary Gland9524 Words   |  39 Pagesis used to destroy cancer cells with high energy x-ray or other particles. All patients should receive radiotherapy to the breast after excision and chemotherapy to lower the chance of recurrence. Axillary nodal radiation may be added if nodal involvement. It can improve survival rates by over 20% after breast surgery with radiotherapy at 15 years compared with patients without radiotherapy. Generally side effects are mild but a classic one is unilateral arm lymphedema and skin reactions such as