Representation of War in Sassoon’s They, Woolf’s Mrs. Dalloway, and the

Representation of War in Sassoon’s They, Woolf’s Mrs. Dalloway, and the film Hedd Wynn â€Å"They†, by Siegfried Sassoon, â€Å"Mrs. Dalloway, by Virginia Woolf, and the film Hedd Wynn directed by Paul Turner, were works written about World War I. These works were the author’s point of view about the war. The authors described how the war effected people during and after the war was over. The poem â€Å"They†, by Siegfried Sassoon was a poem written during World War I. The poem basically states that no man comes out of the war the same. People who go into war are facing death. Either the soldier comes out alive, or dead. The war will have some affect on a soldier in some way or another. This representation of war applies to Virginia Woolf’s novel â€Å"Mrs. Dalloway†, and the film Hedd Wynn. Both pieces consist of characters that went to war, and as a result died in the war. It seems as if the authors believe that if there is a war, there will be some kind of tragedy as a result. The tragedy isn’t always a bad thing. Either th ere will be Mental problems, physical problems, or death as the result. The poem â€Å"They† displays a war representation of change of human existence can be applied to the novel Mrs. Dalloway, and Hedd Wynn. Mrs. Dalloway, and Hedd Wynn representation of war was death. The poem â€Å"They† begins with a Bishop saying that the soldiers wouldn’t come back as the same men. Some of soldiers admitted that some were injured, and faced death. Some of the soldiers also admitted that no man would come from the war without being changed. Siegfried Sassoon is stating that these men who fight in the war, will come back changed physically, mentally, or face death. In â€Å"Mrs. Dalloway†, the character Septimus fought in the World War I in Englan... ...s mind from the war. Woolf used Clarissa as a person who could relate to Septimus, because she wanted to plunge into another place herself. By plunging into another place, she could get away from the facade that she had to put on in front of guest. She wanted to be herself, not someone else. Ellis died, and he won chair for his poem. Once again people change after they fight in the war. Woolf and the Paul Turner also imply that death is not always a terrible aspect in one’s life. It can bring out the best in a person. Work Cited Woolf, Virginia. Mrs. Dalloway. San Diego, New York: Harcourt, Inc., 1925. Sasoon, Siegfried. â€Å"They.† The Norton Anthology of English Literature. Ed. M.H. Abrams. 7th ed. vol. 2c. New York: W.W. Norton & Company, Inc., 2000. p. 2055 Hedd Wynn. Dir. Paul Turner. Perf. Huw Garman, Catrin Fychan. Welsh Films., 1996. http://us.imdb.com

Slavery In the North and South

Contrary to what many people in this country believe, slavery took place in the North and the South. In fact, Massachusetts was the first colony to legalize slavery. By the year 1700, Rhode Island had surpassed Massachusetts as the chief importer of slaves in the north. Major slave ports included Boston, Salem, Providence, and New London. The tariffs that were enforced upon slave imports were used to pay for community projects, such as repairs to roads and bridges. At the beginning of importing and exporting Africans, slavery disguised itself as indentured servitude.But the reality was that indentured servants, of African origin, were often turned into slaves against their will and against the contract they had signed to enter to the New World. Indentured servitude became outdated and old-fashioned due to the fact that the general society was uncomfortable with allowing former servants to purchase land after their contract expired. Another reason for this is due the fact that servant s were much more expensive to replace than slaves. Lastly, making black slaves gave an easily identified mark— one skin color determined who the horse was and who the king was.Slavery existed in New York, Philadelphia, New Jersey, Massachusetts and the other Northern states. Famous Northerners, such as John Hancock, Benjamin Franklin, and William Henry Steward (the 24th secretary of state, in President Lincoln’s cabinet) were slave-owners. Although slaver was abolished in New England by 1804 slavery continued in the northern colonies for another 80 years. Northerners profited from slavery in many ways. New England’s manufacturing empire was based on shipping and their shipping money was acquired through the trading of slaves.Without a workforce as large as the slavery had offered, the towns, cities and companies would have taken sustainably longer to develop and prosper in the way that they did. The poor, landless white indentured servant was a problem for the c olonial establishment elevating them above the African slave solved two problems: African slaves were more abundant and easy to come by, and the landless hapless white servant now had a reason to feel superior. The white indentured servant could vent their hostility at the Africans and thus provided the upper class with a buffer.This led to an eventual phasing-out of indentured servitude, and the rise in slavery. An example of how fearful the colonial establishment was of the rising dissatisfaction that the landless felt was the Bacon Rebellion of 1676. Here slaves and Indentured servants got together and tried to overtake the planters of Virginia. The reason why slavery was abolished in the North had more to do with the expense associated with keeping slaves and with the need for the economy to have workers who could fuel the needs of the industrial revolution.The north did not have a large-scale agrarian society so slavery did not come to be relied upon the same way it was relied upon in the south; Slavery also lost its hold in the North because of the Revolutionary War with Britain. As Britain moved throughout the newly created United States of America, it freed the slaves, using them to help Britain wage its war against the new founded country. The puritan influence was also a factor in the freeing of slaves. The idea that freedom should be accessible to all came into conflict with the concept of slavery.However, it is also clear that the Puritan ethic led Northerners to erase their hand in the slave trade. Ultimately, this ability to forget their part in the slave trade led the Northern colonies to believe that the southern slave system was alien and set apart from their own lifestyle. The north was less conducive to farming. However, for the most part, this was the mainstay of families in the northern colonies. Towns were built around these farms and these towns produced areas for other industry.The church, the general store, and the entertainment indust ries of bars and hotel services all grew up alongside the farming community. Because the northern colonies were along the coastline, many industries were built up around living life near the water. To earn a living, people engaged aquatic activities in fishing, whaling, and shipbuilding. Because the land was so unsuitable for large scale farming, the northern colonies developed different than their warm, southern counterparts. Fur trading and timber were large enterprises in the Northern colonies.The harsh conditions also made it necessary that every member of the family be a part of the family’s survival. Children were not educated formally unless they were from the upper class of society. However, every white person was expected to know and be able to read the Bible. Religion was an important center of community life. The church established both secular and religious law, and enforced both. It is no surprise that higher education started in the North, with Harvard opening i n 1636. The northern states were made of people from England and the Netherlands.As a  result, the architecture, clothing, types of food enjoyed, and social activities differed from their southern counterparts. In New England for instance, stones were used to build cellars so that one could have frost free winter storage. The layout of the home was to maximize warmth from the fireplace and slope of the roof was made to compensate and distribute the weight of heavy snowfall. The northern treatment of slaves was also influenced by the British and Dutch cultures, often seemingly less harsh in their treatment of servants and slaves than their French and Spanish competitors in the south.Family life was also culturally influenced with men hunting, fishing, and tanning animal hides to make clothing. Women and children worked inside the home making textiles and preparing food. In the south, everyone had to be on hand to plant and harvest crops and thus the division of labor seemed much di fferent than in the South. The conditions under which the northern and southern colonies developed were vastly different from one another. Culture, geographic location, religious, and philosophical differences produced two distinct economic and social systems.However, it is very clear that slavery was the constant thread through which businesses flourished and many colonists got rich. The slave trade continues to be a shameful mark upon all the achievements that occurred in the Colonial Americas and in the United States. Slavery’s abolishment came as a result of economic necessity rather than moral indignation and any attempt to forget this devalues the horrors that slavery inflicted on the African people who came to the New world.

Classic Poems About, Addressed to, or Inspired by Birds

Birds wild and domestic are quite naturally interesting to humans, earthbound creatures that we are, and for poets in particular, the world of birds and its endless variety of colors, shapes, sizes, sounds and motions has long been an immensely rich source of inspiration, symbol and metaphor. Because they fly, they carry associations of freedom and spirit on their wings. Because they communicate in songs that are alien to human language and yet musically evocative of human feelings, we attribute character and story to them. They are distinctly different from us, and yet we see ourselves in them and use them to consider our own place in the universe. Here’s our collection of classic bird poems in English: Samuel Taylor Coleridge,â€Å"The Nightingale† (1798)John Keats,â€Å"Ode to a Nightingale† (1820)Percy Bysshe Shelley,â€Å"To a Skylark† (1820)Edgar Allan Poe,â€Å"The Raven† (1845)Alfred, Lord Tennyson,â€Å"The Eagle: A Fragment† (1851)Elizabeth Barrett Browning,â€Å"Paraphrase on Anacreon: Ode to the Swallow† (1862)William Blake,â€Å"The Birds† (1863)Christina Rossetti,â€Å"A Bird’s-Eye View† (1866)Christina Rossetti,â€Å"On the Wing† (1866)Walt Whitman,â€Å"Out of the Cradle Endlessly Rocking† (1867)Walt Whitman,â€Å"The Dalliance of the Eagles† (1881)Emily Dickinson,â€Å"‘Hope’ is the thing with feathers —† (#254)Emily Dickinson,â€Å"High from the earth I heard a bird;† (#1723)Paul Laurence Dunbar,â€Å"Sympathy† (1899)Gerard Manley Hopkins,â€Å"The Windhover† (1918)Gerard Manley Hopkins,â€Å"The Woodlark† (1918)Wallace Stevens,à ¢â‚¬Å"Thirteen Ways of Looking at a Blackbird† (1918)Thomas Hardy,â€Å"The Darkling Thrush† (1902)Robert Frost,â€Å"The Oven Bird† (1920)Robert Frost,â€Å"The Exposed Nest† (1920)William Carlos Williams,â€Å"The Birds† (1921)D.H. Lawrence,â€Å"Turkey-Cock† (1923)D.H. Lawrence,â€Å"Humming-Bird† (1923)William Butler Yeats,â€Å"Leda and the Swan† (1928) Notes on the Collection There is a bird at the heart of Samuel Taylor Coleridge’s â€Å"The Rime of the Ancient Mariner†Ã¢â‚¬â€the albatross—but we have chosen to begin our anthology with two Romantic poems inspired by the song of the common nightingale. Coleridge’s â€Å"The Nightingale† is a â€Å"conversation poem† in which the poet cautions his friends against the all-too-human tendency to impute our own feelings and moods onto the natural world, hearing the nightingale’s song as a sad song because the listener is melancholy. On the contrary, Coleridge exclaims, â€Å"Nature’s sweet voices, [are] always full of love / And joyance!† John Keats was inspired by the same species of bird in his â€Å"Ode to a Nightingale†Ã¢â‚¬â€the little bird’s ecstatic song prompts the melancholy Keats to wish for wine, then to fly with the bird on â€Å"the viewless wings of Poesy,† then to consider his own death: â€Å"Now more than ever seems it rich to die,To cease upon the midnight with no pain,While thou art pouring forth thy soul abroadIn such an ecstasy!† The third of the British Romantic contributors to our collection, Percy Bysshe Shelley, was also taken with the beauty of a small bird’s song—in his case, a skylark—and also found himself contemplating the parallels between bird and poet:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"Hail to thee, blithe Spirit!. . . .Like a Poet hiddenIn the light of thought,Singing hymns unbidden,Till the world is wroughtTo sympathy with hopes and fears it heeded not...† A century later, Gerard Manley Hopkins celebrated the song of another little bird, the woodlark, in a poem that conveys the â€Å"sweet—sweet—joy† of God-created nature: â€Å"Teevo cheevo cheevio chee:O where, what can thà ¡at be?Weedio-weedio: there again!So tiny a trickle of sà ³ng-strain...† Walt Whitman also drew inspiration from his precisely described experience of the natural world—in this, he is like the British Romantic poets, despite all the differences between his poetry and theirs—and he, too, attributed the awakening of his poetic soul to his hearing of a mockingbird’s call, in â€Å"Out of the Cradle Endlessly Rocking†: â€Å"Demon or bird! (said the boy’s soul,)Is it indeed toward your mate you sing? or is it really to me?For I, that was a child, my tongue’s use sleeping, now I have heard you,Now in a moment I know what I am for, I awake,And already a thousand singers, a thousand songs, clearer, louder and more sorrowful than yours,A thousand warbling echoes have started to life within me, never to die.† Edgar Allan Poe’s â€Å"Raven† is not a muse or a poet but a mysterious oracle, a dark and spooky icon. Emily Dickinson’s bird is the embodiment of the steadfast virtues of hope and faith, while Thomas Hardy’s thrush lights a tiny spark of hope in a dark time. Paul Laurence Dunbar’s caged bird epitomizes the soul’s cry for freedom, and Gerard Manley Hopkins’ windhover is ecstasy in flight. Wallace Stevens’ blackbird is a metaphysical prism, viewed thirteen ways, while Robert Frost’s exposed nest is the occasion for a parable of good intentions never completed. D.H. Lawrence’s turkey-cock is an emblem of the New World, both gorgeous and repulsive, and William Butler Yeats’ swan is the ruling god of the Old World, the classical myth poured into a 20th century sonnet.