Changing Self Essay Essay Example for Free

Changing Self Essay Essay How do composers use texts to explore concepts of Changing Self? Discuss ideas and techniques. In Gwen Harwoods poems Prize-Giving and The Glass Jar, the prescribed text Sky-High, and the novel White Teeth by Zadie Smith, the composer have used many varying ideas and techniques to investigate and illustrate concepts of Changing Self effectively. The ideas looked at in Gwen Harwoods poetry include imagery, retrospect, metaphor, and inversion of the connotation of adjectives. Ideas conveyed in Sky-High include imagery, retrospect, and comparison. The techniques and ideas in White Teeth, to name the most important, are long and erratic chronology, removing characters for a period and the exposing of the least important change are evident in the texts that are compared. In Gwen Harwoods poem Prize-Giving, the composer has adeptly used imagery to examine and represent the Changing Self evident in this poem. This striking imagery at first portrays an egotistical middle aged man, such as his inurbane behaviour when he scowled with violent distaste. This works in revealing the major change of Eisenbart, in comparing the self-righteous man at the start of the poem, to the awkward and confused man at the end. The imagery used to describe the titian haired girl is also evocative, especially when comparing her supposed insignificance in contrast to Eisenbart, and the affect she has on him. She seems to be nothing but a cheeky, though attractive, schoolgirl: one girl sat grinning. This thought of her insignificance is reinforced when she winked at nearby friends, possibly reinforcing to Eisenbart her immaturity that was earlier established through her audacious behaviour during the opening prayer. However, Eisenbart was flung from his calm age and power merely by a touch of this immature schoolgirl, indicating a change. This change in the girls attitude is reinforced when she changed her casual schoolgirls for a masters air, indicating the power that she has that Eisenbart has not detected thus far. In the text Sky-High by Hannah Robert, the concept of Changing Self is analysed and emphasized through retrospect, apt imagery, and change of language. The best climbing tree indicates the experiences of a child and their joy in everything no matter how small. However, the responsibility in the statement it is unlikely the washing line could support me divulges that the persona is now more responsible, and, it is discovered, also older, revealing a physical change of self. The comparisons in the final stanza show the insight that the persona now has; as seen in I was once the curious onlooker, I now write my own semaphore secrets in colourful t-shirts. It also shows, however, that no matter how much a person changes, that he or she is still the same person, and that they still retain what they were before. The metaphors used in The Glass Jar, and the way in which they are developed and often exaggerated, shows and typifies the change of self that is experienced by the persona, so that greater audiences may understand the experiences of a small child. Only a small child could imagine an ordinary glass jar as a monstrance in which the sun could be caught for the night. This vision of the holy commonplace of field and flower coming to save the boy is lost when he awakes from his nightmares. The religious metaphor is now lost except for the mocking image of the resurrected sun in the final stanza. The inversion of the usual use of adjectives shows the confusion associated with the change of self for the persona, such as the malignant ballet. The novel White Teeth, by Zadie Smith, develops the concept of Changing Self with a long and somewhat inconsistent chronology. All the characters in this novel, which reaches from World War Two to the end of the century, obviously change physically due to this long chronology. However, the retrospect as to how much the characters have changed in other ways is far more potent because of the extensive chronology. The comparison, for example, Josh Chalfen turning away from his family and becoming less of a nerd: he was the kind of guy who could measure an eighth with his eyes closed (so fuck you, Millat). The original focus of the book on Archie Jones beguiles the reader into thinking that he is the main focus for the book. However, Archie serves  merely as a connection between all the original characters. From these characters the Jones, Iqbal, Chalfen and Bowden families and their stories emerge, and all the adults, in the end, only accentuate the changes that the children (Irie, Millat, Magid, and Josh) undergo, that is, comparing where the children have ended up to what their parents expected of them. The later and extended focus of the novel on Millat Iqbal, who changes in the most radical way out of all the characters, hides the slow and, in the sense that Millat changes, insignificant changes of Irie Jones, but her changes are more symbolic and emotional. The removal of Magid from the story means that his change of self seems sudden, because the persona is taken away at the age of nine years and only returned at the age of seventeen. In the texts Prize-Giving and The Glass Jar by Gwen Harwood, Sky-High by Hannah Robert, and White Teeth by Zadie Smith, ideas and techniques are flaunted in terms of how they are used to display the change of self in the personas. The numerous ideas used in each of the texts, often overlapping to be used in more than one text show the skill of the composers and their flexibility in applying various techniques.

A New Life Essay -- Creative Writing Essays

"So then Tom," his mother wept, "don't worry. I'll see you again." Tom was shocked, he'd never seen his mother cry before. Even when Dad left to help in the army, she had been very strong. "But-but Mum," he bit his lip, holding back his tears, "I don't want to go." "I know, don't worry," then she started to cry more heavily while singing "We'll meet again" to him, his favourite song. Suddenly, a whistle rang loudly through his head, so Tom reluctantly stepped on to the train, his name tag round his neck and watched while his mother grew further and further away until she was no longer visible through his tears. Tom calmed himself down and tried as hard as he could to find the positive points to this situation. Well, at least he was safe from being blown to smithereens. That was all he could think of. He wasn't even going to start with the negative points. "Hello there, "a small boy who looked about eight had just come into the compartment, "I can't wait, this will be great. Such a brilliant holiday, Dad said it will be fun. I don't know why he hasn't come with me, though." Tom hadn't the heart to tell him that he'd probably never see his father again. "My name's William, what's yours?" The little boy said. "Tom, nice to meet you William," he felt terrible, "so, do you know where we're going?" "No, but it will be good," said William excitedly. The door to the compartment slid open and a girl Tom's age came in. She was pale and looked very ill. She sat down and started mumbling to herself, tears rolling down her cheeks. "Why are you crying, "William laughed, "this is terribly exciting. Holiday!... ...acked. He got down off the tractor and let his hand fall on Tom's shoulder. "You're a genius lad," Mr Grundle's face broke into a smile, "oh lad. Thank you so, so much. Come on, let's get inside and back to bed." The next day, Tom woke up, got change and bounced down the stairs with a large spring in his step. "Tom," Mrs Grundle said carefully, "now, because of your parents, er, well, we've been asked to take care of you, would that be okay with you? We would be happy to take you in." "Of course Joan," Tom was actually pleased to be asked to stay. "You realise that you will have to stay for a long time, don't you?" asked Mr Grundle, "as I get older, I'll need more help on the farm, is that clear, Tom?" "That would be great," Tom knew he would be fine, Mr Grundle had just called him by his real name.

George Herbert: Shaped Poems Essay

George Herbert’s style in his collection of religious poetry, The Temple, is very short, clear, concise, and gets to the point. Different from John Donne, Herbert structures his poetry around biblical metaphors and his struggle to define his relationship with God. Herbert places himself in church through many poems that are styled in an architectural form, however his emphasis is always on the soul’s inner construction. Rather than voice his fears about being saved by God or sinning as Donne had, Herbert faces his fearful behavior by focusing on his relationship with Christ. In order to do this, Herbert focuses on architectural motifs and how one’s soul is constructed to become a better person. Since Herbert is a metaphysical and religious poet, his poetry always ends with a metaphysical conceit. A metaphysical conceit is an extended metaphor that structures the entire poem. Usually, these metaphors deal with spirituality, intellectual ideas, and are supposed to teach one to be a good, or better Christian (Miller). The metaphysical conceit is one way in which a poem is structured, formed, or as Herbert writes, is used as an architectural form. In each of his poems, Herbert has a conceit that sums up the poetry. In other words, it serves a moral and we, the readers are taught a lesson. Another way architectural structure takes place in poetry is by the use of figurative language. For example, Herbert’s poetry is written with metaphors, similes, and his poetry is usually wrapped around the AABB and ABAB rhyme scheme. We see the use of these rhyme schemes in The Altar and Easter Wings. Architectural imagery takes place in a number of Herbert’s poetry. In The Temple, the opening poem is titled The Altar and the very shape of the poem suggests an altar of worship. The poems structure is in an AABB rhyme scheme and has many metaphors. In Lines 1-4, Herbert announces in his poem his intention to build an altar to the Lord. He states â€Å"†¦ Made of heart, and cemented with tears/As the hand thy framed; No workman’s tool hath touched the same†(1-5). This very quote gives the reference to building a relationship with God and it is given away in the poem that the altar is actually the human heart. This here is an example of the metaphysical conceit. He is using the broken altar as a metaphor for the heart and how one should sacrifice and offer himself to the lord. The altar Herbert is making to God in this poem is also made of â€Å"broken† material, not actually out of stone, but it is â€Å"Made of a heart, and cemented with tears†(2). Here, Herbert is building a sacrifice that is pleasing before God-an altar made of broken material, but the brokenness is from the soul, and the altar and offerings are of himself. We know this because he uses the first person narrative in lines 14-16. Herbert writes: â€Å"That, if I chance to hold my peace, these stones to praise thee may not cease. Oh let thy sacrifice be mine, and sanctify this altar to be thine† (14-16). His poem speaks about the internal emotions he has with God. He is comparing his cold, empty heart to a cold, hard stone. Herbert writes: â€Å"A heart alone is such a stone, as nothing but thy power doth cut†(5-8). This quote may suggest the cold and empty feeling he has because of God’s absence. He wants his heart to praise God, but feels like he cannot because he has to be part of a sacrifice as he states in lines 15-16. â€Å"Oh let thy blessed sacrifice be mine, and sanctify this altar to be thine†(15-16). Only by sacrificing his broken self will God accept and help him. However, The Altar is not the only poem in which architectural styles occur. Easter Wings, also takes on the metaphysical conceit and exhibition of architectural styles. Herbert’s poetry is meant to teach people to be good Christians, and by constructing the poem around biblical metaphors, the message is received. The point of having these biblical metaphors is to gain knowledge and define the relationship with God through Herbert’s eyes. In Easter Wings, Herbert structures his poem in the shaped verse. The four stanzas are shaped in two sets of angel wings. In terms of rhyme scheme, Herbert uses ababacdcdc in both stanzas. Each stanza represents a different relationship between God and man. Herbert’s poem deals with man’s suffering as the result of his sins and his repentance to God through the end of the poem. The poem starts with the idea that when God created man, man was given what is necessary to survive: â€Å"Lord, who createdst man in wealth and store† (1) God created man with an abundance and wealth of items needed to survive in this world, but man takes God’s gifts for granted ends up losing what was given to him. The greed that man had leads to the falling of man until the wealth given to him by God is nearly gone: â€Å"Decaying more and more, / Till he became / Most poor:† (3-5). Here, the structure of the poem is set up with man having all he needs, but by being greedy, he has fallen. This particular poem is amazing it terms of how it addresses the journey of man from his sin to God redeeming him. Each stanza discusses man’s self-destruction and how God eventually helps him. The language of loss and faith comes to play when God comes in. The poem is structured in a way that it starts with man having the most of things and goes to least of things when man sins and loses. For example, the second stanza moves from discussing man’s falling and focuses on man’s redemption through God. Herbert writes, â€Å"With thee / O let me rise / As larks, harmoniously,†(7-8). In these lines, man is giving himself to God and hopes that God will allow him to have what he had before: the items needed to survive. Similarly, by stanza three and four, we see the repeated pattern of man’s sin and the road to redemption from God. In a way, the structure of the poem is set up so that the reader realizes that the poem uses the ascending to descending to ascending again theme. It can be inferred that the person in the poem does good, but falls into sin, yet does good again and is eventually saved. Again, the third stanza addresses the sin of man: â€Å"My tender age in sorrow did begin: / And still with sickness and shame / Thou didst so punish sin, / That I became / Most thin† (11-14). Here, man discusses how God has punished him for his sins. When man sinned early on he was punished with sickness. Not only did God take away his wealth, but he also became sick, causing man to become â€Å"thin†. However, by stanza four, man hopes for redemption. Herbert writes: â€Å"With thee / Let me combine, / And feel this day thy victory, / For, if I imp my wing on thine, / Affliction shall advance the flight in me† (16-20). Here, Man wants God to become a part of him. As the word imp implies, man wants to attach himself to God so God can see how he is now devoted to him. Man speaks of attaching himself (imp) to the wing of God as a means of flying back towards being saved. Man will be taken under Gods wing and will be guided towards the path of righteousness. By doing this, man takes into account all the suffering that he has endured as a result of being punished for his sins. By reaffirming his devoutness to God, man hopes to redeem himself. In the poem, the words are not the only things that provide meaning. The poems shape also gives meaning. Although the language itself describes the sins and redemption of man, the shape of the poem is what really describes what is being said. As man’s destruction is described, the poem’s line lengths become smaller, and as man’s salvation is described, the line lengths become longer. This is what gives the image of two sets of wings, which symbolize man’s fall and eventual redemption towards the end of the poem. Here, the metaphysical conceit suggests that the wings are the actual salvation of man. The wings are being compared to a human characteristic, salvation. By recognizing his sins, man realizes that the only way he will be forgiven is if he goes towards salvation. It can be inferred that the message of this poem is to be grateful for what you have because it can be taken way in a blink of an eye. However, with repentance and devotion to God, you will be forgiven. In summation, Herbert’s use of architectural styles is what helps a reader generate the poems meaning. In almost all of his poems, Herbert’s use of architecture helps aid him in exhibiting the larger meaning. Usually, his ending message is that people must sacrifice what they have if they want a better, blessed life.

Jane Eyres Gothic Theme - Free Essay Example

Sample details Pages: 2 Words: 622 Downloads: 3 Date added: 2019/05/18 Category Literature Essay Level High school Tags: Jane Eyre Essay Did you like this example? Jane Eyre is a classic Victorian era literature masterpiece by Charlotte Bront. It was published in the year 1847, under Charlottes pen name Currer Bell. The novel combines the passionate fairy tale of a damsel in distress with a prevalent gothic theme that is heavily symbolized throughout the novel. Don’t waste time! Our writers will create an original "Jane Eyres Gothic Theme" essay for you Create order It tells a story of a woman who is struggling to find and maintain her self-worth in the rigid class structure. This at last leads to her developing independence and her willingness to voice her opinions in a society that advocates for submission in women (Bront 207). There are multiple elements of the gothic theme in the novel. The main Setting of the story is in an old eerily castle or mansion. Thornfield is a fine old hall, rather neglected of late years perhaps, but still it is a respectable place; yet you know in winter time, one feels dreary quite alone, in the best quarters. I say alone (Bront 182). Gothic themes are known for their preoccupation with dark and gloomy buildings that serve to elicit feelings of fear and uneasiness in the reader. It is always clear on who the occupants of the house are. There are secret passages and rooms and possibly old sections where people are forbidden from venturing into. Villains play a pivotal role in the Gothic themes. They often take the form of a male with autocratic, successful, charming and complex features. Mr. Rochester was a temperamental, married and manipulative man who used mental tricks to prevent his secrets from leaking out. Nevertheless, he desired to accomplish his goals, but his psychological conflicts prevented him. Despite his flawed personality, Jane fell in love with him. I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously revived, great and strong! He made me love him without looking at me. (Bront 221) Literal artists use visions and nightmares to foretell and hint at events that are yet to happen. They create an air of mysteriousness, confusion and sublimity for the fear of the unknown. This is displayed when Charlotte describes Janes reflection in the mirror. All looked colder and darker in that visionary hollow than in reality: and the strange little figure there gazing at me, with a white face and arms specking the gloom, and glittering eyes of fear moving where all else was still, had the effect of a real spirit (Bront 21). Jane perceives herself as something unnatural, something she may turn into if she continued flirting with her dismal present. Perhaps the most significant and eerily element of supernatural activity in the novel was when Jane heard a strange and mysterious laugh. The laugh was repeated in its low, syllabic tone, and terminated in an odd murmur.(Bront 202). Janes paranoia and eagerness to find a ghost in the attic is unsuccessful when she is informed by Mrs. Fairfax, the housekeeper that the laughter came from a servant dwelling in the third-floor of the house. Dramatic events such as these are ultimately revealed to be a natural occurrence by the artist. A gothic story is not complete without the literal artist evoking the feeling of suspense and fear. It seemed, sir, a woman, tall and large, with thick and dark hair hanging long down her back. I know not what dress she had on: it was white and straight; but whether gown, sheet, or shroud, I cannot tell. (Bront, 540). Anything that align with the common happenings and explanations contributes to the mysterious atmosphere and fear of the unknown. This usually happens when the characters sees only a glimpse of something, heightening the feelings of fear.