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During the modernist period in twentieth century, T. S. Eliot, was one of the most important poets. He was also a critic of Elizabethan literature. He wrote this article on how Hamlet is lacking the "objective correlative." Objective correlative is when an author produces an emotion in the viewer, the artist simply accurately reproduces those things that created strong emotion in himself. Eliot makes some great points, but also, I have to disagree with him on some of his opinion. Eliot sees Hamlet as somewhat of an artistic failure due to its confusion between the main plot and the main character.

In his analysis, Eliot recalls the work of other authors who have also critiqued the subject of Hamlet. He states that many authors connect with Hamlet and do not come to realize their own creative potential. These authors come to think of the drama as a classic and therefore see it as an extension of their own artistic ability. Eliot goes on to talk about Thomas Kyd, who wrote Spanish Tragedy and Arden of Feversham. Eliot writes "there are verbal parallels so close to the Spanish Tragedy as to leave no doubt that in places Shakespeare was merely revising the text of Kyd" (pg. 85). I did some research on Spanish Tragedy, and Eliot does have a point. I did notice similarities. In both plays, the protagonist has lost loved ones to murder and suicide, and these losses drive them to madness.

Eliot states, "So far from being Shakespeare's masterpiece, the play is most certainly an artistic failure. In several ways the play is puzzling, and disquieting as in none of the others" (pg 86). I have to agree and disagree with this statement at the same time. Yes, Hamlet is Shakespeare's masterpiece, but it is not an artistic failure. Hamlet, the character, goes through many changes during the play, but in real life, if what happened to Hamlet, happened to you, you would have crazy mixed emotions as well. It is true that much of the story line in Hamlet is confusing and that the emphasis shifts numerous times from the actual plot to the actions of the main character, but I find that to be what draws me towards the story.

Eliot can call Hamlet an artistic failure, but then he can say "more people have thought Hamlet a work of art because they found it interesting, than have found it interesting because it is a work of art. It is the "Mona Lisa" of literature" (pg. 86). I do believe that Hamlet is an amazing psychological piece written by Shakespeare. This quote is basically stating that Hamlet is interesting to some people because of the intricate lines in the story. Other people find it interesting because it was written by William Shakespeare, and he's a "famous" author.

T.S. Eliot then goes on to explain how Hamlet's failure isn't immediately noticeable. He agrees with Mr. J.M. Robertson when he says "the essential emotion of the play is the feeling of a son towards a guilty mother" (pg. 86). I agree with this statement as well, but just like Eliot I don't believe that it's the whole story. Eliot stats, "Hamlet, like the sonnets, is full of some stuff that the writer could not drag to light, contemplate, or manipulate into art" (pg. 86). This quote goes together with how Hamlet's emotion isn't obvious. It's stating how Shakespeare just doesn't come out and say that Hamlet's source of problem is within his anger towards his mother. You understand that Hamlet is angry, when reading the whole story. It's the big picture.

Eliot finally begins discussing "objective correlative." He states

"The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the eternal facts, which must terminate in sensory experience, are given, the emotion is immediately evoked. If you examine any of Shakespeare's more successful tragedies, you will find this exact equivalence (pg. 86)."

Eliot then gives examples of how this works. His examples Include the characters of Lady Macbeth and Macbeth, in which Lady Macbeth is walking in her sleep, and Macbeth is hearing of his wife's death. His most important examples are within Hamlet. Hamlet's downfall is his disgust towards his mother for marrying his uncle. Eliot says, "It is thus a feeling which he cannot understand; he cannot objectify it, and it therefore remains to poison life and obstruct action" (pg. 87). Hamlet faces a difficult situation. He is angered by his mother, but his ghostly father tells him that it is not his mother's fault, it's his uncle's fault. So now he is faced with trying to murder his uncle for revenge to his father. Not to mention that everybody thinks he is crazy.

I believe that T.S. Eliot's main purpose of this article is that Hamlet is lacking the "objective correlative," and because of this, Hamlet is confusing and hard to understand. Eliot backs up this statement by giving examples of other artist's work, and using his own opinions. I happen to agree with many of his thoughts, but I do disagree with a few. Overall this article was an enjoyment to read. I especially like the part of him comparing Hamlet to Mona Lisa. That is his major strongpoint

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If you order your essay from our custom writing service you will receive a perfectly written assignment on midsummer night's dream. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality midsummer night's dream paper right on time.

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William Shakespeare's A Midsummer Night's Dream takes place during, quite obviously,

a midsummer night in Athens. As the scenes change from the royal court of Theseus to

the magical wood of Oberon, the four lovers Hermia, Lysander, Helena, and Demetrius;

the mechanicals Bottom, Snout, Flute, Snug, Starveling, and Quince; and Titania,

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queen of the fairies, change as well. The changes that occur in these characters'

behaviors must happen in order to achieve both the comedic effect Shakespeare

intends and the happy ending the audience desires. The lovers and mechanicals

change in the wood because they enter the world of the fairies during midsummer

madness, and Titania transforms in the wood because she enters the world of the

mortals when she falls in love with Bottom.

The four lovers undergo transformation first, when they reach the wood of

Oberon and Titania. In the beginning, both Lysander and Demetrius love fair Hermia.

However, Hermia loves Lysander and Helena loves Demetrius, who does not love her in

return. After Puck places a love spell on Lysander and Demetrius, they both fall in love

with Helena. Helena feels the men are mocking her in her love for Demetrius. A

confused Hermia begins to resent Helena, and Helena believes Hermia is also making

fun of her. Things become extremely confusing and one expects uproarious laughter

from the audience. When Oberon discovers Puck's mistake, he reverses the spell, only

this time, he shifts Demetrius's original love for Hermia to love and devotion for Helena.

With the changes that transpire in the wood, as the result of Puck and Oberon's

mischief, the play ends happily for the four lovers. Since Demetrius now loves Helena,

Theseus overrules her father, Egeus, and allows her to marry Lysander, instead of

forcing her to join a convent or die for her true love.

While the men change their feeling for the women, the women remain constant

in their love for their men, yet they change their feeling toward each other. They both

feel that one mocks the other in an attampt to have the love of both Demetrius and

Lysander. What is ultimately important though, is that Helena and Hermia are steadfast

in their love for Demetrius and Lysander, respectively.

The mechanicals also undergo transformation in the wood outside Athens. As

Quince, Snug, Snout, Bottom, Starveling, and Flute meet to rehearse their play, they

each transform into the characters they are to be. As a result of Puck's roguishness,

Bottom's head turns into an ass's head, which becomes a hilarious pun on Bottom's

name. When the players convene at Theseus's palace, they also transform into the

play-within-the-play's characters, and some portray parts different from what they

rehearsed in the woods, which only adds to the comedic hilarity of the mechanicals. In

the woods, Snout becomes the lion, Bottom plays Pyramus, and Flute portrays Thisbe, a

woman. The transformation of Flute to Thisbe is quite interesting because his change

does not just involve behavior, but also sex. Poor young Flute must pretend to be a

woman and speak in high voice. Also in the woods, thanks to Puck, Bottom's head

turns into that of an ass. When he is returned to his original form, after having been

pampered by the fairies of Titania, he remembers his transformation as dream, which

only confuses him further, adding to the comic effect. His memory of the dream can only

be described as ironic when he says, "Man is but an ass if he go about to expound this

dream" (MND IV, i, 06-07). Bottom recounts the tale as something halfway between

dream and reality and wants to fashion the memory into a ballad for Theseus. In the

court, Bottom changes into Pyramus, when he is not interjecting himself into this lines,

Snout plays the wall (instead of the lion), Quince performs the prologue, Starveling

becomes moonshine (not the backwoods liquor, but the light of the moon), and Snug

plays the lion, but only after introducing himself as Snug, so as not to scare the ladies.

One final character to transform in the wood is Titania, queen of the fairies.

Oberon places a spell upon her so that, when she wakes, she will fall in love with

Bottom, who has an ass's head. Oberon does this only to spite her for not giving him

the changeling boy. Titania loves Bottom and has her fairies, Peasblossom, Cobweb,

Moth, and Mustardseed, attend to his every need. Titania's utter love and devotion for

an ass's head adds to the comedy of the play and reinforces the theory that love is blind.

Having lost her sight in love, she cannot see Bottom as an ass, only as the object of her

affection. When Oberon removes the spell, she regains her sight and is disgusted with

Bottom. Oberon only removes the spell because he is jealous of Titania's affection for

Bottom. His jealousy is one of the few constants in A Midsummer Night's Dream.

As one can easily see, with the transformation of love and hate in A midsummer

Night's Dream, the comedy intended by Shakespeare would be just that--a dream. Also,

the ending would become problematic, as Bottom would have an ass's head and Hermia

would be forced into an unwanted marriage, a convent, or death and Helena would be

left to live on with her unrequited love. The transformations of each of the characters in

A Midsummer Night's Dream are crucial to the comedy and happy ending of the play.

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The Threat of Anne Hutchinson

While many leaders were uneasy about the involvement of women outside the traditional female sphere, Anne Hutchinson's preaching that every individual had the ability to communicate with god posed a threat in Massachusetts. Massachusetts power and authority was based on its role was mediator between the congregation. Anne Hutchinson and her husband and family arrived in the Massachusetts Bay Colony in 164. The Hutchinson's were seen as welcomed newcomers to their new community, "large because of William's prosperity and Anne's expertise in herbal medicines, nursing the sick, and midwifery"(). Anne Hutchinson became very busy with, "in religion and theological questions, she was particularly influenced by John Cotton, a Puritan minister who was forced to flee from England to Massachusetts Bay in 16 because of his religious ideas"(). Anne Hutchinson than began intervening with Antinomians which led to her trial, conviction, and banished of the Massachusetts Bay Colony.

Anne Hutchinson became interested in religious issues and began weeknight meetings, which were lead by her and was accompanied by Antinomians. Anne Hutchinson was brought to trial in front of the General Court of Massachusetts Bay. Governor Winthrop lead this case in determining the fate of Anne Hutchinson, "Privately, Winthrop called Hutchinson a person of "nimble wit and active spirit and a very valuable tongue."'(). Winthrop was determined to get rid of Anne Hutchinson no matter what it took to do so.

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The case started off with Mr. Winthrop, the governor, describing to Anne Hutchinson what was going on and why she was being tried. "Mrs. Hutchinson, you are called here as one of those that have troubled the peace of the commonwealth and the churches here; you are known to be a woman that hath had a great share in the promoting and divulging of those opinions that are causes of this trouble, and to be nearly joined not only in affinity and affection with some of those the court had taken notice of and passed censure upon"(5). Anne Hutchinson, after listening to this, becomes confused with why she is in court and for what she has done. "I am called here to answer before you but I hear no things laid to my charge"(5). I was then explained that one of the reasons for her being there was because she has broken a law, which was the fifth commandment. She was also charged for having such religious meetings in her own home. "Why do you keep such a meeting at your house as you do every week upon as set day?…(7). Anne Hutchinson than knew that she had not transgressed in this aspect and rebutted her charge. By rebutting the charge, she was further charged by Deputy Governor Winthrop, "Mrs. Hutchinson for that time she came hath made a disturbance, and some that came over with her in the ship did inform me what she was as soon as she was landed"(). She was accused "of preaching a covenant of works rather than a covenant grace"(40). The governor than brings up "That there are six witnesses who say it is true and yet you still deny it"(41).

One of these witnesses was John Cotton, who Anne Hutchinson highly respected. He was called upon to testify against Hutchinson. Cotton did his best, "tried to defend Hutchinson, mostly saying he did not remember most of the events in the question"(4). Hutchinson believed that she was given a task by god, "God had compelled her to take the course she had taken and that God had said to her as He had to Daniel of the Old Testament, that "through I should meet with affliction, yet I am the same God that delivered Daniel out of the lion's den, I will also deliver thee"'(45).

Even though Anne Hutchinson spoke the truth in her testimony at trial, there was still no avail. Governor Winthrop was still determined to do everything possible to get rid of her. As a result, she was then banished from the Massachusetts Bay Colony and settled "an island in Narragansett Bay near what is now Rhode Island"(). After her banishment from the Massachusetts Bay Colony, trouble still surrounded her. "At the age of forty-five, she was once again pregnant"(47). This was not the only trouble. "In 164, Hutchinson's husband died, and she moved with her six youngest children to the Dutch Colony of New Netherlands in what is now the Bronx borough of New York City. The next year, she and all but one of her children were killed by Indians"(48). The Massachusetts Bay Colony felt that this was a sure sign from God's wrath upon all her sins.

The Puritans tried to hold their own by holding on to their power but it began to fail, "New towns increased the colony's size make uniformity more difficult, Growth and prosperity seemed to bring an increased interest in individual wealth and a corresponding decline in religious fervor, sleeping during sermons, fewer conversations between young people, blasphemous language, growing attention to physical pleasures were numerous, as were reports of election disputes, interachurch squabbling, and community bickering"(48).

Anne Hutchinson being a female and holding her own religious meetings in her own home became a threat to the people of the Massachusetts Bay Colony. Many leaders were uneasy about her ability to communicate with God. This ability became a major threat to the Massachusetts people. Even by telling the truth, she still got what Governor Winthrop wanted, "banishment".

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If you order your research paper from our custom writing service you will receive a perfectly written assignment on How bad were living conditions inTowns in the early 19th Century?. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality How bad were living conditions inTowns in the early 19th Century? paper right on time.

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Within the working class areas of industrial towns such as Birmingham, Manchester and Liverpool living conditions were very bad indeed in the early 1th century. Poor living conditions were due to insufficient planning, bad housing, poor sewerage disposal, inadequate water supplies, and diseases.

Bad planning led to poor living conditions in towns in the early 1th century because of a rapid growth in industrialisation. Local authorities had very little employers and experienced employers and so they had weak knowledge and judgement to enforce regulations, which would deal with new methods. Back to back housing was created to pack as many houses in as possible and cheaply as could be done, forgetting simple things e.g. deep foundations to make the housing sound, but were 'jerry built'. Yet poor sewerage disposal conditions were not new as they were the same in the countryside. Most of the rich members of the council and citizens did not want high rates of taxes but to keep them low and controlled and so consequently new sewers, water supplies and general better living conditions did not happen. Due to the over crowding, bad housing, sewers and poor water supplies many health epidemics broke out, ignorance of not understanding the diseases did not help this. Links needed to be made.

The worst aspect of early 1th century living conditions was the poor housing. Poor ventilation caused the air to be unable to circulate resulting in bad smells from out side mixing in the air, damp of the houses caused infections to the chest with the stale air and damp living conditions. Families of up to six or more were cramped into the small areas of 4mx4.m and .4mx.6m due to the lack of money. Few houses had water supply and so many had to go and get water on a daily basis. The water was often or always polluted and caring disease.

Rivers and streams carrying refuse and waste from the area often used by the poor to get water along with wells again filled with pools of refuse, or they would collect rain water in tubs and baths which got polluted by soot and smoke.

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The unpaved streets held the town's sewage in mud alleys leading to streams and rivers. There was no sewage system e.g. sewers and toilets. This was a large threat and cause of infection and diseases.

Out breaks of disease such as smallpox, typhoid, diphtheria, influenza and cholera caused problems and a major health disaster. People were not prepared to cope with the outbreaks, did not realise the awfulness of the conditions of the towns, and so did not change when diseases broke out.

However, not every inhabitant of an early 1th century town experiences bad living conditions. The rich and poor indeed became very divided even the rich became divided in to middle and upper class. The upper class being able to afford large detached house on a hill above the awful conditions of the town below and away from the waste and putrid smells. The middle classes lived in terraced houses with a garden and live in servant creating a cleaner and healthier environment. Many towns were made to spa towns like Malvern and cheltham. These were of a higher quality compared to most and better/cleaner to live in they would architecturally prettier and safer. The streets had sewage systems and sanitation to keep cleaner and healthier.

Of course, any assessment of living conditions in the early 1th century towns must make comparison with the conditions experienced by these in rural conditions. If the conditions of towns were so repulsive the state of rural villages were very bad to make people move to the towns. The countryside was very damp and unhealthy to live in as well as being cold and dirty. The cottages were small with no sanitation and leisure activities near. Most dwellers did not realise the awful conditions of towns until they arrived there but put up with the conditions for the sake of higher wages from urban jobs so towns were money and socially better than living in the countryside.

Finally, whilst in many respects little had been done to improve living conditions in towns by the mid 1th century, one step had been taken by the government in 1848. This was the 1848 public health act. This improved towns by setting up a board of health, which could be made if over 10% of ratepayers agreed. The act recommended glazed earth ware pipes for new sewerage systems, which was cheaper and more hygienic. The act made sure public health was at the top of politician's agenda to make awareness of the issue.

In the early 1th century living conditions of towns were very poor and disgusting compared with the standard of living conditions to day. Public health was a large concern and mainly caused by poor housing and sewage many of the conditions were brought from the rural dwellers and people put up with them for the sake of wages. The conditions caused a dramatic visual divide between the rich and poor. The living conditions were very bad and needed to be improved by simple measure. Ignorance was greatly to blame and so caused living conditions in towns to be worse as more people had to live in these ghastly conditions.j

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If you order your cheap custom essays from our custom writing service you will receive a perfectly written assignment on Hypothetical Exhibition - an artist and his or her works. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Hypothetical Exhibition - an artist and his or her works paper right on time.

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. Write a critical review of a hypothetical exhibition that contains several of the most important works of a contemporary visual artist you have studied.

I am proud to present George Gittoes and his exhibit "Minefields" as your featured artist for this weeks contemporary visual artist review. Previously presented at the Sir Hermann Black Gallery, University of Sydney in March and April, its success has allowed this exhibition to continue round the continent, where we have been able to view these fantastic works of art right here in our very own Adelaide. Gittoes opened his appropriately named exhibition after travelling to Cambodia, Pakistan and Afghanistan. His paintings help to describe the painful emotions experienced by the innocent victims of landmines. I quote the words of Gittoes, "For me, landmines are the most damning proof of man's inhumanity to man while the moments spent with mine victims have given me some of the most encouraging proof of the strength of the human spirit".

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I have selected a painting dedicated to each country visited for a main basis of this critical review. Each painting belongs to a designated wall dedicated to the country from which it came from. Beneath most every painting exhibited is a sketch of the original photo and a small quote from Gittoes, describing the situation of his chosen minefield characters.From 'Cambodia', I have chosen a painting called 'Blind Field' (1). Based on a Taiwanese man named Som Chit, this painting depicts his injuries sustained by Cambodian land mines. Somewhat abstract, Gittoes has painted Som Chit with shades of blue skin causing him to stand out abruptly over the vibrant background consisting of bright reds, oranges and yellows. The body of this man has been slightly twisted to appear smaller from the waist down and you hardly notice the prosthetic leg supporting the man. What seemed to stand out the most in 'Blind Field' are the blinding white sightless eyes that exist in Som Chit's scarred face.In order to absorb the full extent of this painting, it needs to be viewed up close, as compared to the original sketch below you can see that much detail has been left out and it becomes less obvious that the colours behind Som Chit are actually his home. The garish colour scheme used helps the viewer to visualize the shocking reality of mine field deformity.

As I continue into the second room (Pakistan), a great painting on the far wall first captures my attention. Even more vibrant than 'Blind Field', the mixture of colours attracted me to evaluate this glorious painting. 'What's Left?', an abstract painting depicting a woman with stumped legs and her child surrounded by an opposing mixture of children's toys and artillery. Their faces and limbs are displaced around the bed on which they lie, giving the impression of perplexity and disorder.

This painting depicts the impact of landmines on families. The mother lies helpless on the homemade bed whilst her child stands by with his hands clasped watching over his mother. This oil on canvas consists of bright rusty colours (such as oranges, reds and yellows) which have been used to give the feeling of heat and poverty.

The focal point of 'What's Left?' is, in my opinion, the enormous black eye of the wounded woman. The massively sized emotionless black pupil captures your attention and draws you into the painting itself, almost rendering the rest of the painting irrelevant. Inside this 'black pit' is a crescent moon. They say the eyes are the windows of the soul. So if this be true, I see that the woman has lost hope all which is left inside her is a constant darkness (represented by an image of nighttime).

Leaving this painting I felt somewhat desolate. 'What's Left?' really seems quite appropriate to the feelings conveyed in the painting.

Moving into the third and final room (Afghanistan), my eyes are captured by a painting directly across from the doorway. A cold blue painting that conveys such sadness I feel the need to view it in a more direct manner.

Gittoes has painted an abstract portrait of a man named Muzammil, a 5 year old man who was left blinded and legless from working in a minefield. His 5 children are so poor that they live in a community of such poverty that they don't even have any belongings. Muzammil must stumble down mine ridden paths in complete blindness.

'Blown Away' has been painted in pale watery blue and pink. The watery look gives the impression of being washed out and drained of life. The blues also represent the sadness and depression you can see printed all over this poor mans face. Such large features make the already sunken face appear more withered and old that what should be for a 5 year old man. You may leave feeling somewhat shut-out because of his closed eyes and pursed mouth.

I feel very privileged to have participated in the viewing of George Gittoes "Minefields" exhibition. By bringing such works of reality for us to view from around the world it is hard not to feel for these victims of landmines especially when the paintings convey such deep emotion. So, thanks to Gittoes exhibition, we are able to view a reality that in normal circumstances we would be blissfully ignorant of.

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If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on How can London be viewed in two radically different ways? a comparison of Wordsworth's "Composed Upon Westminster Hill" and Blake's "London". What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality How can London be viewed in two radically different ways? a comparison of Wordsworth's "Composed Upon Westminster Hill" and Blake's "London" paper right on time.

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In this essay I will be look at two different poems and what image they make of London, and their views.

Wordsworth has written his poem 'Composed Upon Westminster Bridge' in a sonnet form, which is usually only used for poems about love, this implies that Wordsworth's poem will be about how much he likes London. Blake has written his poem in quatrain verse, which at the time was the most common type of style for writing poems.

Blake describes London as being controlled and restricted, we know this because in the first line of his poem he writes "I wander thro' each charter'd street". I believe that by describing the streets as charted he is saying that they are being controlled, like streets on maps are charted. He also describes nature (which to a romantic poet is very important) as being controlled. He says this in line two of his poem "Near where the chater'd Thames does flow". Rivers are usually viewed as powerful, uncontrollable forces of nature.

Wordsworth views the river as a free, peaceful symbol of freedom in London. This can be shown in line 1 where he writes, "The River glideth at this own sweet will."

William Blake views the people as sad, downtrodden and without hope, this can be seen in lives three and four where he writes

"And mark in every face I meet,

Marks of weakness, marks of woe"

(London, lines -4)

this implies that the people of London are unhappy and not free. Another example of them not being free and restricted is in lines seven and eight where he writes

"In every voice, in every ban,

The mind-forg'd manacles I hear"

(London, lines 7-8)

This shows that he believes the people are being controlled and restricted by themselves and are not free, I believe this because he uses the word ban, bans are a way of controlling people and restricting what they can and cant do. Manacles are also shackles, which go on the arms and legs to restrict movement, by saying they are mind forg'd he is saying that peoples minds are controlled and restricted.

Blake also connects his poem, and London, to the French revolution, in which people fought and died for freedom and he writes

"And the hapless soldier's sigh,

Runs in blood down palace walls."

(London, lines 11-1)

The French revolution greatly influenced both Blake and Wordsworth as they both travelled to France during the time of the revolution, and both indulged in the freedom of speech.

Wordsworth describes the people of London and London itself as calm and in lines thirteen and fourteen he writes

"Dear God! The very houses seem asleep;

And all that mighty heart is lying still!"

(Composed Upon Westminster Bridge, lines 1-14)

This also personifies the houses, and by using 'Dear God!' he emphasise this, and makes it a lot more extreme. When he writes "And all the mighty heart is lying still!" I think this is describing London as the heart of England, and because it is earlier in the morning everyone is asleep, making London seem a lot calmer.

Wordsworth also connects London to nature, to create imagery; one example of this is in lines 6-8 where he writes

"Ships, towers, domes, theatres, and temples lie,

Open unto the fields, and to the sky;

All bright and glittering in the smokeless air."

This helps make London seem very beautiful and clean. By concentrating on the good things in London he is drawing attention away from the more ugly features in London. Blake however views the building as now dirty, and no longer pure. We know this because in lines -10 he writes

"How the chimney-sweepers cry,

Every blackening church appals"

(London, lines -10)

This would have been very literate, as at the time it was during the industrial revolution, so many of the buildings would be black with dirt.

In Blake's last verse he talks about how prostitutes are so young, and that they are like young children, but no longer pure. He ends his poem with a oxymoron and writes "marriage hearse". This is two contrasting ideas, marriages are seen as a happy thought, where as hearses are sad thoughts connected to death. I believe this is talking about how the "harlots" (prostitutes) help kill the marriage.

In conclusion Blake has a negative view of London, which I think was inspired by his insiders view of London, which he had from being raised and living in London. In contrast Wordsworth has a positive view of London, which I believe comes from him being a visitor of London, viewing it in the early morning when not many people are about. I do not believe that in just eight years London could have changed so much.

This essay gained me a A ) - it looks at the two poems but more importantly y they have there views this relates to there backgrounds and how this affects there poem

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The Casket of Fortunato

Edgar Allan Poe wrote poems and criticized literature, but is best remembered for his short stories. Poe's works were exceedingly experimental for their time, and are still influencing writers today. His tales consisted of eerie settings, characters dealing with psychological problems, and unfolding mysteries layered within a plot. By intertwining these elements into a cohesive unit, Poe created a genre in literature now known as Mystery. At first glance, Poe's short stories can be tough to comprehend thoroughly, but upon taking a more in depth look at the work it becomes less difficult to understand. His use of irony, foreshadowing and symbolism all provide for his purpose as in, "The Cask of Amontillado."

Among the literary devices used by Poe, irony is one in which he implements into is horror stories often. Webster's Dictionary defines irony as conveying meaning by saying the direct opposite for what it really meant. In the short story "The Cask of Amontillado", the protagonist, Montressor, yearns

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for revenge against his arch nemesis, Fortunato, by starving him to death in his family's wine cellar. In order to get Fortunato into the cellar, Montressor uses Fortunato's lust for fine wine tasting as his bait to lead him into his own grave. "Fortunato pursues a "cask" which ends up being his own casket" (Silverman). On numerous occasions throughout the trip into the cellar Montressor questions whether or not Fortunato should go on. "Come, we will go back; your health is precious. You are happy like, as once I was" (Poe). This piece of dialogue is ironic because Montressor does not care for Fortunato's health, because he in fact plans on killing him in the vaults. Poe use of irony can be hard to grasp the first time you read through one of his short stories, but with repetitions of analyzing the work, the irony becomes easier to understand.

"The Cask of Amontillado" is a short story that is very suspenseful. Poe uses the literary device called foreshadowing to build up moments of suspense throughout this tale of terror. Foreshadowing is to represent or warn before hand. There are two noteworthy instances of foreshadowing in "The Cask of Amontillado". The first being when Fortunato begins to cough from the mold growing on the walls in the catacombs and goes on to say, "I will not die from a cough," then Montressor answers, "True, true" (Poe). This section of dialogue makes the reader

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aware that Montressor does not intend on Fortunato dieing from illness, but rather from malnutrition and dehydration when he is left to rot in the cellar. Moments after this scene, Montressor offers Fortunato some Medoc, a wine, to help cure his cough. He gladly accepts and drinks the beverage, furthermore making a gesture of his alliance with the Masonic order. He then proceeds to asks Montressor if he is of the Masonic order, in which he responds yes he is a mason. "…He will be building things out of stones and mortar namely Fortunato's grave" (Thomas, Dwight, & Jackson). By using foreshadowing, Poe was able to create suspenseful situations that were also highly unpredictable.

Poe whom was also a literary critic and poet, was very influential with his usage of symbolism in his works. Symbolism is something that stands for or represents something else. "Poe celebrated pure forms of beauty and opposed the didactic in poetry" (Ljungquist). In the short story "The Cask of Amontillado", Poe uses symbolism when Montressor is describing his family's arms. "(The shield is) A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel" (Poe). This is a symbolic replication of Fortunato being the serpent chastising and insulting Montressor who is represented by the foot stepping on the serpent. "Although Fortunato has hurt Montressor with

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insults, Montressor will ultimately crush him" (Silverman). Applying symbolism into his writing has made Poe among the most influential writers in modern literature.

Edgar Allan Poe has been said to live a rough life, as he always seemed to be in some sort of financial debt, usually for gambling. His stormy life is what is believed to be where he drew his inspiration from to create his horror stories and tales of deception and intrigue. Further contributing to his motivations are the methods and techniques Poe uses are so fundamentally sound, that his works are the foundation in which detective stories were built upon. Whether or not Poe was mentally stable or not is a debatable topic to this day. "At age he married his 1 year-old cousin" (Ljungquist). Though his tales are of a darker undertone, this does not make Poe out to be an evil man, even though some people did perceive him to be during his lifetime. In modern times, his works are not taking so literally and can actually be quite humorous as opposed to dark and gloomy. This is just another piece of evidence that proves just how far ahead of his time Edgar Allan Poe really was.

Works Cited

"Edgar Allan Poe" Ljungquist, Kent. World Book Encyclopedia, 17. ed.

"foreshadowing" Webster's Dictionary. 17. ed.

"irony" Webster's Dictionary. 17. ed.

Silverman, Kenneth. Edgar Allan Poe Mournful and Never-Ending Remembrance. Harper Collins, 11.

"symbolism" Webster's Dictionary. 17. ed.

"The Cask of Amontillado" Edgar Allan Poe. Baltimore, 18. 6 July. 00 http//www.geocities.com/short_stories_page/poecask.html

Thomas, Dwight, and Jackson, D.K. The Poe Log A Documentary Life of Edgar Allan Poe, 180

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