Inhaltsangabe zu "Songs Of Innocence And Songs Of Experience"
Songs of Innocence and Experience brings together two books of poetry by William Blake that delve into these two opposing states of the human soul. His Songs of Innocence are often cheerful and sweet and always demonstrate the purity of youth, as Blake explores themes of freedom, happiness, loss and religion. The optimism of innocence is keenly contrasted by Blake’s Songs of Experience, which feature a more realistic and often darker view of the world.
Originally published as two books with pages illustrated by the author, Songs of Innocence and Experience has often been considered a foundational work in Romantic period literature which surely inspired poets like Coleridge, Keats, Shelley, Wordsworth and Byron in the years that followed.
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Inhaltsangabe zu "Cliffs Notes on Lee's To Kill a Mockingbird"
Gain new perspective of Harper Lee's coming-of-age story set in a racially divided Southern town with CliffsNotes on To Kill a Mockingbird! With this study guide, you'll get to know Atticus Finch, Boo Radley, and Scout, the 6-year-old tomboy on the verge of a life-altering event. CliffsNotes on To Kill a Mockingbird also provides you with expert commentary, a character map, and a critical essay. What's more, you'll get background information about Harper Lee as well as suggestions as to why, after winning a Pulitzer Prize, this was to be her one and only novel.
First published in 1966, this debut collection by Seamus Heaney signals the talent that was to win him the Nobel Prize in 1995. Largely addressing his rural childhood in County Derry, the volume begins with "Digging", a poem which encapsulates Heaney's early concerns about roots, belonging and the supple joy of language. As he watches his father digging the flowerbed, he recalls him working the potato drills and lines of turf 20 years before. "By God, the old man could handle a spade. / Just like his old man." Heaney is renowned for getting inside language and revelling in its sensual glut. He talks of "the squelch and slap / Of soggy peat, the curt cuts of an edge / Through living roots." He too severs roots, being the first generation not to depend on the land. "But I've no spade to follow men like them. / Between my finger and my thumb / The squat pen rests. / I'll dig with it." Heaney has the bewildering genius of being loose and tight at the same time, conversational and colloquial as well as formally rigorous. He's equally at home and as wildly inventive in blank and rhyming verse. In Death of a Naturalist, he takes the reader to the festering flax-dam where "bluebottles / Wove a strong gauze of sound around the smell" and he gathered "the warm thick slobber / Of frogspawn." He delights in excess, in textures--"a glossy purple clot" of ripe blackberry, its flesh like "thickened wine". "For the Commander of the Eliza" is savage in its depiction of the famine: "Six grown men with gaping mouths and eyes / Bursting the sockets like spring onions in drills." The captain of the ship refuses to give out food on Whitehall's orders. In "At a Potato Digging", Heaney compares contemporary potato-gatherers at their "seasonal altar of the sod" and the piles of spuds, "live skulls, blind-eyed" to those who "wolfed the blighted root and died". He renders the famine unavoidably stark and present. Almost every poem demonstrates his resourceful, elastic use of language and Heaney ably achieves what he aims to do: "I rhyme / To see myself, to set the darkness echoing." --Cherry Smyth