Auden poem

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Poems can portray various different messages throughout their context depending on the viewpoint in which you look at the meaning from. In W. H. Auden's poem he depicts two clearly diverse attitudes, one is of the clocks and the other is of the lover in the poem, he makes this clear through his use of such techniques as diction and imagery.

On the one hand, W.H. Auden portrays the attitude of the clocks through his use of imagery and diction. A first example is shown in the sixth stanza, when Auden writes, "O let not Time deceive you,/You cannot conquer Time." By saying this Auden shows that the speaking of the clocks is a way of warning the lover that he does not have forever, and that Time, in essence, rules all. No matter what you do to try to conquer Time you will not live forever. Furthermore, Auden shows the attitude of the clocks towards the end of the poem using mainly imagery. For example, he tells the reader to plunge their hands in water, in order to see what they have missed in life. This is mainly to allow the reader to realize that things are not always what they seem, in this case, he is speaking of the realization which must be made that Time does not necessarily last forever and you must make the most of what you have for now. Finally, Auden makes sure that the reader perceives his message undoubtedly. In the last two lines of his poem he writes, "The clocks had ceased their chiming,/And the deep river ran on." Evidently he is saying that life will go on, the clocks stood as a warning to spend your life doing things which you like to do, things you enjoy, because you only have a limited amount of time here. However, the river which was brimming in the beginning of the poem is still running, therefore proving that life goes on, even though sometimes you may think it won't. Through the attitude of the clocks Auden clearly proves his point that Time is everything, it rules all and you must live your life to the fullest.

On the other hand, while W.H. Auden clearly portrays the attitude of the clocks he also shows the ignorant attitude of the lover, once again using mainly diction and imagery. Unlike the clocks, the lover does not realize that Time cannot be defeated and it rules all. Initially, in the beginning of the poem where the narrator first acknowledges the lover's song, he speaks of a brimming river. The word 'brimming' is used to describe the river but it can also be tied to the vivid description of his adoration for his lover. Another example of Auden's use of imagery is when he further describes how much he loves her, eternally, and says, "I'll love you till the ocean/Is folded and hung up dry,/And the seven stars go squawking/Like geese about the sky." In the stanza the amount of imagery used is incredible, Auden also incorporates alliteration to even further the reader's awareness for the lover's love. The lover believes that he has forever and that his love will be eternal, not aware that Time is not able to be overcome. However, the clocks begin to "whirr and chime" attempting to teach the lover a lesson and to allow him to become a little bit less ignorant, especially when it comes to love and life. Finally, when the lovers leave the river, it is still running and the clocks have stopped chiming clearly signifying that they have learned the lesson and their overall outlook and attitude towards life have been affected for the ages.

Thus, it is unmistakably made evident that the attitude of the lover and that of the clocks as presented in the poem by W.H. Auden clearly contrast each other. However, in the end the attitude of the lover was affected immensely by the attitude of the clocks.

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The Mezanine

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The Mezzanine A Review

By Lacey Kaufman

Upon beginning to read the Mezzanine I felt the urge to disregard the book in its entirety. The long passages about this thing or that thing was tedious and it was hard to follow just for the simple reason that it was different than that which I am used to reading. Eventually, however, I did settle into the book and let the words develop into sense in their own time. The most enjoyable parts of the book are the ones that smack with familiarity, knowing that I have thought something similar to what Baker is saying . These thoughts, easily recognizable but never clearly defined, where like a reminder of a dream that I could not remember.

The Mezzanine follows a character, Howie, through each of his thoughts for only the beginning of a work day. The reader does not only get to look at the characters present state of mind though, for his thoughts are all deeply rooted in origin and habit, of which he is more than happy to share. This back history for each thought, makes the reader realize that each of his own thoughts have a history, although quite original, not that different from the ones that Baker describes. Throughout the morning, this business man addresses ideas, so intricate and fresh that at first they appear alarming. Baker's character even comes off as a little bit "crazy", and yet he knows himself better than most all readers. The only disappointing part of his stairway of thoughts is the fact that he rarely addresses what could be improved in his own realm of emotional and intellectual security. Baker eludes to his characters insecurity and dissatisfaction with his own life, only briefly. There is a line in the first half in which Howie relates that he has not become the man he had wished, and even expected to become. He also seems to have a spiritual battle with his lustful thoughts, this is shown through a disturbing relationship between himself and a female cashier who sells him Penthouse (though he would rather be purchasing the filthiest of the smut such as, Club). In Howie's list of thoughts some of them are that he has no friends, and that his friends are smarter than him. This shows not only his truly human reactions, but an insecurity that, unlike the bulk of his thoughts, illogically and not based on anything factual.

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I think this book is more for the male population, for there are several parts to which Justus could relate wholly, while I was left looking through the window into a mind very much unlike my own. Of course this is more than just because Justus is male and I am female; he constantly thinks about the details of life that I rarely consider. The male driven prospective is shown most evidently when Howie speaks of urinals, and the fascination with women taking their bras off while remaining dressed.

It is truly amazing that Baker and explore so many avenues of reality through the morning of one man's thoughts. Each topic of our humanities class was covered at least briefly and always in perspective I hd yet to consider. Gender is explored by viewing things through a males eyes. Relationships are looked at by the way he treats his coworkers, his girlfriend L, and his parents. Howie seems almost cold to anything that can not be picked apart, but I don't think that, that's entirely true; maybe he was just not thinking about people as much as he was about things on the morning we share with him.

Overall I think the book is an amazing piece of Art that allows each reader to rethink his rethinking. With each moment there is a fragment of history, our own, and others. Upon closer examination, perhaps we all could benefit from Howie's perspective of life. Please note that this sample paper on The Mezanine is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Mezanine, we are here to assist you. Your persuasive essay on The Mezanine will be written from scratch, so you do not have to worry about its originality.

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Differences/Similarities that led to two distinct colonization areas(Chesapeake/South)

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The geographical locations of the New England and the Chesapeake colonies led to entirely diverse societies in which there were distinctions in their economies, cultures, and religions.

The geographical differences between the New England region and the Chesapeake region caused two very distinct economies. In New England, the air was cold and the soil was rocky, so an agricultural society was not able to exist. However, there were many water-based and natural resources available. Their economy was based on trading goods such as lumber, iron, fish, ships, and furs. Because their economy was trade based, it consisted of many diverse craftsmen. However, in the Chesapeake region, the soil was very fertile and the climate was great for growing crops. Therefore, the economy in the south was agricultural. They grew many cash crops such as indigo (NC), tobacco (VA, MD, NC), and rice (SC, GA). Settlers in the south acquired vast amounts of land, which were called plantations. Plantations were like a town within itself. For most plantation owners had their own craftsmen, and all plantation owners had many slaves.

At first, settlers came over because of the headright system. It gave a certain amount of land per every person in one party. The men brought along with them hired workers, indentured servants, who were purchased for a certain number of years then were free to start a plantation of their own. However, the indentured servant system died down pretty quickly, and soon plantation owners turned to black slaves. Slaves were easier to control and didn't have to be set free at any time. Unlike the New England region, where they had no need for many slaves, only a few domestic workers.

Colonies in the Chesapeake differed from those in New England because of their various reasons for settlement, which led to distinct societies. The first settlers in the Chesapeake region were single white males who were looking to make a profit. They created a society, which was based on wealth. On the other hand, settlers arrived in family units in the New England region. Their society was very close and based on religion. Women did not arrive in the Chesapeake until around 160, and when they did arrive, they had much more power than the women up north because there were fewer women than men. Life was very arduous in the south. Many men died due to the strenuous amounts of work and malaria. Also, everyone was separated, because of their plantations. While in New England, they didn't have plantations, but towns. Towns depended upon each other for necessities. Their social classifications were based on religion and economy rather than wealth.

The roles in which religion played for the Chesapeake and the New England regions differed greatly from each other. New England settlers arrived in search of freedom and separation between the church and state. The south, however, was originally created to be a haven for Catholics. Yet, the Catholic population was very meager compared to the Protestants of the region. New England was a theocracy, people were forced to attend church and there were many strict beliefs. The community was centered around the church and interactions between people were based on religion as well. Unlike the south, where religion had no domination of life.

By the 1700s the two regions became greatly diverse religiously, politically, and economically. However, they grew at the same rate, but advanced in their own ways.

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To kill a Mockingbird essay

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Being one of the main symbolic themes in the novel, the mockingbird represents the innocence and inner beauty of three of the main characters- Tom Robinson, Arthur (Boo) Radley and Atticus Finch. These three men were the mockingbirds in a town full of bluejays. Tom, the unjustly treated mockingbird who was nothing but a kind and pure soul; Boo, who sang his beautiful music through watching over Jem and Scout, and Atticus, who was a magnificent parent and showed the town how to sing the right song, one of harmony and equality. To kill or harm any one of these characters would be a great sin, as these selfless mockingbirds acted only with love and respect for all, and to kill something with such purity would be so very immoral.

From the very beginning of the story, we realise the small community of Maycomb has a definite social hierarchy. There are the middle class whites, such as the Finches and Miss Maudie, then there are the poorer white's such as the Cunningham's, they're followed by the white trash like the Ewell's and at the bottom there are the African-Americans like Tom, for no other reason but their skin colour. Tom, like most of the African-American community, was a moral citizen- he attended church, had a family and was always polite to ladies. But this didn't stop the town from believing he was guilty of rape, even after Atticus made it clear to the jury that Mayella and her father were lying. A white man's word was always believed over a black's, so Tom "was a dead man the minute Mayella opened her mouth and screamed." This innocent creature was robbed of his flight because of one town's inability to see in colour, but instead in black and white.

Another character that is symbolised by the mockingbird is Boo Radely. From the beginning of the story, Boo represents the unknown for Jem, Scout and the children of Maycomb. Their imagination's run wild as they picture boo eating squirrels and killing children, they even base their games around trying to get him to come out of his house. All they know about boo is from what other town's people tell them, so they really have no clue of to what he is really like. The whole town judges him to be an evil man, when he is the total opposite- a kind soul, shy and innocent, a sort of guardian angle watching over Scout and Jem, covering Scout with a blanket during Miss Maudie's fire and saving both Scout and Jem from Bob Ewell in the woods. So much like the beautiful mocking bird in personality, Boo's appearance even resembles a mockingbird- plain and pale, but what he lacks on the outside, he makes up for on the inside with his heart of gold.

The other mockingbird of the novel, Atticus finch, is the flicker of hope in a town full of racism and prejudice. Whilst being the soul parent for his children, Scout and Jem, he still managed to have the courage to stand up for what he believed in, representing Tom Robinson, an African-American accused of rape in the town court. As scandalous as it was, Atticus never gave up, not even when his own life was threatened. He used his work as an example for his children, teaching them invaluable lessons about life and its injustices. With little support for what he was doing, he fought as hard as he could, and even though Tom was found guilty, and was eventually shot dead, he made the not so perfect town of Maycomb realise what they had done. They had assumed guilt based only on skin colour, killing one of their harmless mockingbirds in the process.

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Chocolat

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Claire Denis's maiden film Chocolat opens on a wide gray slice of sea and sky. Two silhouettes distantly at play in the surf do little to relieve the visual anomie. The camera curves slowly rightward, away from drear emptiness toward green-fringed shore, to stop at a young white woman, watching. Cut to closeup a child lazes on his back in the sand, a transparent skin of seawater rising to caress, then slide away from his rich brown flesh. Soon a grown man lies down beside him, and together their bodies form a dark continent that fills Denis's frame, anchoring our (and the observing woman's) gaze. In effortless, elegant cinematic diction, Denis makes us experience how, for this as-yet-unidentified voyeur, people of colorcolor itselfsignal harbor, a homeport that draws her in from those washed-out, undemarcated spaces at the horizon, back into childhood memory of a perfect life in French-governed West Africa during the 150's.

Chocolat's vehicle for time-travel is in the present, a young woman lacking in substance, a bit distracted and adrift as if she's misplaced her life's Baedeker. Clutching her father's old sketchbook of African scenes like a compass that has ceased to point true north, the adult France (Mireille Perrier) trips into the past, where she seems at first only audience to a quiet playing-out of paradise lost. The little girl France (Ccile Ducasse) first learns and is exiled from the color of home in the last house on earth, as the previous colonialistsdefeated Germans who now lie in a nearby graveyarddubbed the sprawling bungalow that stands so solitarily in the Cameroons flatlands. But Chocolat ('88), like Denis's No Fear, No Die (S'en fout la mort) ('0; U.S. '), ultimately shapes itself into a potent morality play that climaxes with the rupture of uniquely symbiotic relationshipsbetween France and the black houseboy Prote (Isaach de Bankol) in the first film, between money-minder Dah (Bankol) and Jocelyn the cockfighter (Alex Descas) in the secondpropelling the witness into motion, out on the road as a lost or found soul.

Chocolat is all devouring space, sunbaked, scrubby expanses that eat away at the substantiality of figures in the landscape, and at the forms on which whites depend for emotional and social orientation. Visually, Prote stands out, solidly inhabiting his strong, dark body, filling out his flesh with no slack. The whites seem less at home in their skins, fallen away from or unsure of their true shapes, and thus more reliant on layers that signal identity. Luc (Jean-Claude Adelin), the ex-seminarian who infects France's Eden, reads an account of the violent vertigo experienced by those cast back into enclaves of whites after having lived among blacks for a long time The white skin color evokes something akin to death.

For Aime, France's mother (Giulia Boschi), Prote becomes a kind of axis around which she orbits, though the motion is always masked by the protocols of châtelaine and houseboy. In the willed silences and the kind of sexual suspension maintained between them, Aime and Prote guard a necessary order and equilibrium. That balance eventually collapses, done in by a fallen priest's killing honesty. By naming out loud the existential dynamics of color and by making himself at home in spaces reserved for members of each race, Luc uncontains the players and their stage, so that they become vulnerable to an African landscape, i.e., state of mind, that leaches them of vitality and any sense of direction. Aime crouches in the darkness, reaching out to grasp Prote's ankle as he closes the shutters on African nightas though she might fall off the world without the lifeline of his flesh. But that connection would hamstring the black man, and he rejects it.

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Women in "The Lottery

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Women in "The Lottery"

In Mrs. Jackson's "The Lottery," we see how men use their aggressive behavior to select a woman as the scapegoat for an unnecessary cruel ritual, and mens unwillingness to address changes needed rid men of their evil tradition that victimize women.

The story demoralized women's inasmuch as referring to Mr. Summer's wife as being a "scold," (p 78). "The women wearing faded house dresses--exchanged bits of gossip--'' (78), while Mr. Summers is described as being clean with white shirt and blue jeans. The villages most powerful man, Mr. Summers, who owns the villages most prestigious business, a coal company, is also its major, since he has, Mrs. Jackson writes, more "time and energy to devote to civic activities" (78). Mr. Summers name suggests that he has money and time to do as he wishes. Then comes Mr. Graves, the village's second most powerful as the postmaster. Mr. Graves name could suggest death in the grave after winning the lottery. Finally, there is Mr. Martin, who owns the only grocery store in the village of "More than three hundred" (7). These powerful men who control the village, also controlled the lottery. Mr. Summers, the official, was sworn in yearly by the postmaster (Mr. Graves (7)). Only men assisted in the preparation and administering the lottery, and the lottery box is put away at one of the men place of business. "It had spent one year in Mr. Graves's barn and another year underfoot in the post office, and sometimes it was set on a shelf in the Martin grocery and left there" (7). Those that control the village controlled the lottery. The lottery takes place in the village square "between the post office and the bank"--which symbolize government (post office) and finance (bank) that are controlled by men. The men in the village believed that because they worked they would not draw the paper with the black dot, that they could not be selected to die. The rules of the lottery based on that worked outside the home excluded women thereby they could be scarified. All heads of households (men) drew in each round. Mrs. Dunbar only drew because her husband had a broken leg. Mr. Summers asked "Don't you have a grown boy to do it for you Janey?" (80) Mr. Summers knew that she did not. Jacksons choice of Mrs. Hutchinson as the lotterys scapegoat reveals the lottery to be a device that serves to eliminate the less important villagers (women). Moreover, performing this practice every year will eliminate all women's who resist men so men will stay in power. Mr. Summers, "Bill,"--"you draw for the Hutchinson family. You got any other households in the Hutchinson?" "There's Don and Eva," Mrs. Hutchinson yelled. "Make them take their chance!" (8) Mr. Summers reminded her that her daughter draw with her husbands' family. Clearly, the power in the village lies with the head of the household (men) and the women's are insignificant. When Mrs. Hutchinson is selected, and before she is stoned, Mr. Summers asks her husband "Show us her paper, Bill." (8) As though she could not hold up her own paper. The most disgusting part of the story is that "someone gave little Davy Hutchinson a few pebbles" (8) to stone his mother. The men of the village socialized little Davy, making sure he new what he (as a male) should do to women.

In Mrs. Jackson's, "The Lottery," is designed by men to eliminate the less important non-working villagers who happened to be women. The lottery only serves to reinforce actions of men and their unwillingness to change a hideous tradition, regardless of its unfairness, deliberately targeted at women.

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Responding to Noel Perrin's "A Part Time Marriage"

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First published September , 184 in the New York Times magazine, Noel Perrin's "A Part Time Marriage," identifies the problems with modern marriages, as well as discusses the post-divorce behaviors of many middle class couples. He proposes his own resolution to these problems. Perrin feels that levels of intimacy can help in establishing the success of a relationship or marriage. I agree with him that elevated levels of intimacy and closeness will make for a longer and better relationship, even though we do have a rather high divorce rate.

Perrin's first point is that when many marriages end, post-divorce behaviors begin. He says that many middle class couples that have children who separate will slowly work into a part-time marriage. It starts normally when the woman leaves her husband to find herself. She and the ex will work into a kind of routine where he will come over to help out with the outside chores and handy work, she will maybe do his laundry, and he will almost always stay for dinner. They may even de-velop back into a warmer relationship, without giving off any kind of impression to their children that they are going to get back together. This may go on for years and they will eventu-ally grasp that this is how their marriage should have been from the beginning; that is part-time.

I agree that many people in today's world who have re-cently been divorced will work into this type of routine. Even if you really feel affection for someone you may not want to be with them every waking moment. I think this happens more to couples who are not ready to give up on their relationship be-cause of a binding tie such as children. My brother and his wife are presently in the process of getting a divorce and he is willing to do almost anything just to be with his child. His selfish wife on the other hand, will not let him or his family see the baby. I feel they will eventually develop these types of post-divorce behaviors as told by Perrin. Many men are not willing to give up their relationship with their chil-dren for the sake of their ex-wives.

Perrin also talks about how levels of intimacy can help in determining the success of a relationship. Perrin states, "There are certainly people who thrive on seven-day-a-week mar-riages. They have a high level of intimacy and they may be bet-ter, warmer people than the rest of us." He thinks that the rate of divorce would be a lot lower if couples would enter a marriage with a more sensible view of their own closeness.

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I feel you should only cross the threshold to marriage if you have a steady rate of intimacy and are ready to commit full-time. So many marriages end in divorce because couples closeness decreases as the relationship continues. Younger peo-ple, especially, who jump into marriage because of lust will sooner or later loose their passion for one another. Some cou-ples, especially those who have children try to stay together for the sake of their children, even though they have lost all attraction for each other. Many will stay together because they have spent so much time and effort in building the relationship that they do not want to start all over from scratch with an-other partner.

This is a matter that can easily be further discussed and yet we will probably never find an explanation for it. But for now, Perrin's concept of a part-time marriage could work.

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