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- 51: Cancer Ward The Old Doctor
- ... calm. Later the two of them get in to a discussion over the need for the “family- doctor”. These scenes have deeper meaning than just the literal sense. This chapter can be interpreted by using Dante’s “Four Levels of Interpretation”. The first level of interpretation is the literal. This level focuses on what literally happened in the story. The second level of interpretation is the allegorical. This level is concerned ... fourth and final level is the anagogical level. This is the level that is the sense beyond. It is not only literally true but shows a truth of greater glory and truth of the spirit. Dante used the example: “...in the departure of the people of Israel from Egypt, Judea was made holy and free. [7] For even though the literal truth of this passage is clear, what it means spiritually ...
- 52: Code Of Behavior
- ... und Isolt (1210), by Gottfried von Strassburg; Le Roman de la Rose, by Guillaume de Lorris and Jean de Meun; and the Arthurian romances (see Arthurian Legend). The theme of courtly love was developed in Dante Alighieri's La vita nuova (The New Life) and La divina commedia (The Divine Comedy), and in the sonnets of the Italian poet Petrarch. Troubadours and Trouvères (Provençal trobar,"to find" or "to invent"), lyric ... outstanding lyrics. Later in the 19th century Alfred, Lord Tennyson and A. E. Housman produced a variety of lyrical poems. During the same period Gerard Manley Hopkins wrote sonnets with innovative rhythms, and Christina Rossetti, Dante Gabriel Rossetti, and Elizabeth Barrett Browning also wrote fine sonnets. In 1859Edward FitzGerald produced a famous volume of translations from the Persian collection of verse Rubáiyát of Omar Khayyám (12th century). The chief French lyric ...
- 53: T.s Eliot Interpretation Of Wa
- ... that meaning is enlarged by echoes, often heroic," of other writers. The juxtapositions mentioned earlier are evident even at the poem's opening, which begins on a rather sombre note, with a nightmarish passage from Dante's Inferno. The main character, Guido de Montefeltro, confesses his sins to Dante, assuming that "none has ever returned alive from this depth"; this "depth" being Hell. As the reader has never experienced death and the passage through the Underworld, he must rely on his own imagination (and ...
- 54: The Love Song Of J. Alfred Pru
- ... continues this theme allowing the reader to view the world as he sees it, a world of isolation and fear strangling the will of the modern man. The poem opens with a quoted passage from Dante s Inferno, an allusion to Dante s character who speaks from Hell only because he believes that the listener can not return to earth and thereby is impotent to act on the knowledge of his conversation. In his work, Eliot uses ...
- 55: Candide - Voltaires Writing St
- ... to as boring and impudent by the supper guests. In much the same manner Alighieri, in The Divine Comedy, has placed many of his enemies in various circles of Hell. In one instance (page 797), Dante himself pushes one of his political enemies back down into the swampy waters of the river Styx. In Gargantua and Pantagruel, Rabelais mentions a series of text books which are a part of the sort ... It is in this journey that Candide's outlook on life is challenged; he is forced to become less optimistic about this world being the best of all possible worlds. Similarly, in The Divine Comedy, Dante goes on a journey as well; through Hell, Purgatory and Heaven with his guide Virgil. Through his travels he is shown the error of other men's ways, serving to remind him of his own ...
- 56: Candide
- ... referred to as boring and impudent by the supper guests. In much the same manner Alighieri, in The Divine Comedy, has placed many of his enemies in various circles of Hell. One example is when, Dante himself pushes one of his political enemies back down into the swampy waters of the river Styx. In Gargantua and Pantagruel, Rabelais mentions a series of textbooks, which are a part of the sort of ... journey that Candide's outlook on life is challenged, he is forced to become less optimistic about this world being the best of all possible worlds. In the same way as in The Divine Comedy, Dante goes on a journey as well, through Hell, Purgatory and Heaven with his guide Virgil. Through his travels he is shown the error of other men's ways, serving to remind him of his own ...
- 57: Candide-Purposeful Satire
- ... to as boring and impudent by the supper guests. In much the same manner Alighieri, in The Divine Comedy, has placed many of his enemies in various circles of Hell. In one instance (page 797), Dante himself pushes one of his political enemies back down into the swampy waters of the river Styx. In Gargantua and Pantagruel, Rabelais mentions a series of text books which are a part of the sort ... It is in this journey that Candide's outlook on life is challenged; he is forced to become less optimistic about this world being the best of all possible worlds. Similarly, in The Divine Comedy, Dante goes on a journey as well; through Hell, Purgatory and Heaven with his guide Virgil. Through his travels he is shown the error of other men's ways, serving to remind him of his own ...
- 58: Eliot's Views of Sexuality as Revealed in the Behavior of Prufrock and Sweeney
- ... and Sweeney "The Love Song of J. Alfred Prufrock" tells the story of a single character, a timid, middle-aged man. Prufrock is talking or thinking to himself. The epigraph, a dramatic speech taken from Dante's "Inferno," provides a key to Prufrock's nature. Like Dante's character Prufrock is in "hell," in this case a hell of his own feelings. He is both the "you and I" of line one, pacing the city's grimy streets on his lonely walk ...
- 59: Eliot's Views of Sexuality as Revealed in the Behavior of Prufrock and Sweeney
- ... and Sweeney "The Love Song of J. Alfred Prufrock" tells the story of a single character, a timid, middle-aged man. Prufrock is talking or thinking to himself. The epigraph, a dramatic speech taken from Dante's "Inferno," provides a key to Prufrock's nature. Like Dante's character Prufrock is in "hell," in this case a hell of his own feelings. He is both the "you and I" of line one, pacing the city's grimy streets on his lonely walk ...
- 60: "The Love Song of J. Alfred Prufrock": Surrealism and T.S. Eliot
- ... that meaning is enlarged by echoes, often heroic," of other writers. The juxtapositions mentioned earlier are evident even at the poem's opening, which begins on a rather sombre note, with a nightmarish passage from Dante's Inferno. The main character, Guido de Montefeltro, confesses his sins to Dante, assuming that "none has ever returned alive from this depth"; this "depth" being Hell. As the reader has never experienced death and the passage through the Underworld, he must rely on his own imagination (and ...
Search results 51 - 60 of 110 matching essays
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