Pablo Picasso Biography Summary

Pablo Picasso Biography Summary Unlike in music, there are no child prodigies in painting. What people regard as premature genius is the genius of childhood. It gradually disappears as they get older. It is possible for such a child to become a real painter one day, perhaps even a great painter. But he would have to start right from the beginning. So far as I am concerned, I did not have that genius. My first drawings could never have been shown at an exhibition of childrens drawings. I lacked the clumsiness of a child, his naivety. I made academic drawings at the age of seven, the minute precision of which frightened me. (Matayev) Pablo Picasso was born on October 25, 1881. His full name was Pablo Diego Josà © Francisco de Paula Juan Nepomuceno Marà ­a de los Remedios Crispiniano de la Santà ­sima Trinidad Ruiz which according to Spanish tradition was the sequence of names of the honourable Saints and relatives of Picassos family. Picasso is the surname of his mother which he took as his fathers surname seemed to the painter too ordinary and primitive. From the age of seven, Picasso took lessons from his father Jose Ruiz, who was a painter himself specialized in naturalistic depictions of birds and sometimes even let his little son finish some of the paintings. But one day when Jose Ruiz was drawing a still life and charged his thirteen year old son to finish the picture he was fascinated by his sons technique that he gave up painting immediately. The same year Pablo entered the School of Fine Arts in Barcelona. He easily passed the entrance examination preparation to which took him less than a week. There in Barcelona he made the first artistic friendships and allegiance, with Manuel Pallares, Carlos Casagemas and Jami Sabartes. Three years later Picassos father and uncle sent the young artist to Madrids Royal Academy of San Fernando. In Madrid Pablo first saw the paintings Diego Velà ¡zquez, El Greco, Francisco Goya, and Francisco Zurbarà ¡n. While he was studying in Madrid, Picasso made his first trip to Paris where he visited the Louvre in October 1900. The works of impressionists changed his vision of art completely and that was the beginning of the so called Blue Period of Picasso (1901-1904) when the blue and blue-green color prevailed in the paintings. The main themes of the paintings of this period were death, old age, poverty, melancholy and sadness. The main characters were old, blind people, beggars, prostitutes and alcoholics (The Frugal Repast, 1904, The Blindmans Meal, 1903, The Tragedy, 1903). The more optimistic and positive Rose Period came to take the place of the gloomy mood and feeling of despair. Pink and red became the dominant colors. The theme also changed. The funny harlequins, strolling musicians and actors and deft acrobats became the characters of the paintings of Rose Period (The Acrobat and the young Harlequin, Actors family, The jester, 1905). The real popularity came to the artist at the age of 25 and he even complained that the public believed blindly into his talent and could not evaluate his works properly. The next period (1909 -1912) is called Cubism Period. Pablo Picasso moved toward abstraction and played with dimensions (Still life with wicker chair, 1911, Violin and guitar, 1912), World War I changed everything: mood, vision of the world, style of the painting and the whole life of Picasso. Picassos pictures became somber and more realistic. In 1916, the young poet Jean Cocteau introduced the famous Russian ballet impresario Diaghilev to Picasso. He wanted Picasso to make decorations for his ballet Parade. Picasso gave his consent and in 1917 went to Rome where he worked on decorations for Parade. There, Picasso met the young Russian dancer Olga Khokhlova with whom he fell in love. He proposed to her and after the performance in Barcelona she agreed to marry him. After cubism, Picasso decided to change his style to the more traditional one and this period is known as his Classicist period (The Lovers, 1920, The Pipes of Pan, 1923). The Surrealism movement was growing in popularity at that time, and Picasso was also influenced by it. His Woman with Flower (1932) was a portrait of Marie-Thà ©rà ¨se in the manner of Surrealism with distortion of proportions and deformations of details. When the artist heard about the bombing of the undefended town Guernica in 1937 he decided to express his own thoughts about the tragedy. His big mural Guernica has remained a forceful reminder of the event. This large canvas embodies for many the inhumanity, brutality and hopelessness of war. In 1944, Picasso made a decision to join the Communist Party. Picasso repeated publicly that the aim of his art was to fight like a revolutionary and be a weapon in a political struggle. After the WWII in 1955, Picasso moved to the large villa La Californie that was situated near Cannes where he wanted to live till the end of his life. From the windows he had a view of the big beautiful garden, full of his sculptures. But soon La Californie had become a place of tourist attraction. A constantly increasing stream of admirers crowded around it and Picasso, who disliked public attention, had to move from the villa to Chateau Vauvenargues, near Aix-en-Provence. Pablo Picasso died on April 8, 1973 when he was 92 years old. There is a tendency to estimate Picassos art by evaluating only his painting, giving to his work as a sculptor the minor value and considering it almost as a hobby of the artist. However only after looking at his sculptures it is possible to estimate the creative force of this hardworking and inspired master. Picasso has amazed the world with an abundance of the inventions though many of them are a little known as have been made of fragile, short-lived materials. The head of a bull marks the beginning of rather successful period in Picassos creative life. The general characteristic of the creativity of Pablo Picasso in the field of a sculpture leads to a conclusion that it was amazing as well as his painting. In his sculpture you can feel freedom from any norms and improvisation, it is far from the academic solemnity, so often inherent this to this kind of art. The paintings of Pablo Picasso which were first presented in Spain and then in Paris could be seen now in many museums of the world such as Picasso Museum in Malaga, Spain, Musà ©e Picasso, Paris, France, The Metropolitan Museum of Art, New York, USA, The National Gallery of Art, Washington, DC, USA, Fogg Art Museum, Harvard University, Cambridge, MA, USA, Galerie Rosengart, Lucerne, Switzerland, Toledo Museum of Art, Toledo, OH, USA, Tate Gallery, London, UK, State Museum of New Western Art, Moscow, Staatsgalerie, Stuttgart, Germany, Kunstmuseum Basel, Switzerland, The State Hermitage Museum, St.Petersburg, Montreal Museum of Fine Arts, Tel Aviv Museum of Art and some others. Many of his pictures are in private collections. During the last ten years of his life Picasso was extremely popular. Picasso became a celebrity, there were a lot of films, articles and television programs about him and the public wanted to know his every step. In his late works Picasso prefers the use of simplified imagery which turned the attention of the public away from him. Through all his life Picasso was often compared to the other famous artists. Some of the paintings of Blue Period the people on which had long bodies resemble the early works of another Spanish painter El Greco whom Picasso really admired. The technique of faceting which Picasso used during Cubism Period originated from Georges Braques with whom Picasso was also compared. Some painters find the similar features in the works of Picasso and Salvador Dali. Pablo Picasso was the only painter of his time who introduced history into his art. He is still very popular and his paintings are invaluable. But people are still trying to get them at any price by paying huge sums of money or just steeling the paintings from the museums. Nowadays 547 works of Pablo Picasso are in search.

Fool Chapter 16

SIXTEEN A STORM RISING The storm blew in during the night. I was eating my breakfast in the kitchen when a row erupted in the courtyard. I heard Lear bellow and left to attend him, leaving my porridge with Drool. Kent intercepted me in the corridor. â€Å"So the old man lived through the night?† said I. â€Å"I slept at his door,† said Kent. â€Å"Where were you?† â€Å"Trying to see two princesses ruthlessly shagged and starting a civil war, thank you, and with no proper supper, neither.† â€Å"Fine feast,† said Kent. â€Å"Ate till I nearly burst just to see the king went unpoisoned. Who is bloody St. Stephen, anyway?† Then I saw Oswald coming down the corridor. â€Å"Good Kent, go see that the daughters don't kill the king, and that Cornwall doesn't kill Edmund, and that the sisters don't kill each other, and if you can help it, don't kill anyone. It's too early for killing.† Kent hurried off as Oswald reached me. â€Å"So,† said Oswald, â€Å"you lived through the night?† â€Å"Of course, why wouldn't I?† I asked. â€Å"Well, because I told Cornwall of your rendezvous with Regan and I expected him to slay you.† â€Å"Oh for fuck's sake, Oswald, show a little guile, would you? The state of villainy in this castle is rubbish, what with Edmund being pleasant and you being straightforward. What's next, Cornwall starts feeding orphans while bloody bluebirds fly out of his bum? Now, let's try it again, see if you can at least keep up a pretense of evil. Go.† â€Å"So, you lived through the night?† said Oswald. â€Å"Of course, why wouldn't I?† I asked. â€Å"Oh, no reason, I was worried about you.† I clouted Oswald on the ear with Jones. â€Å"No, you nitwit, I'd never believe you're concerned for my welfare – you're a right weasel, aren't you?† He made to reach for his sword and I hit his wrist a vicious blow with Jones's stick end. The villain leapt back and rubbed his bruised wrist. â€Å"Despite your incompetence, our agreement stands. I need you to consult with Edmund. Give him this letter from Regan.† I handed him the letter I'd written at first light. Regan's hand was easy to duplicate. She dotted her i's with hearts. â€Å"Don't break the seal, it professes her devotion for him, but instructs him to show no outward affection for her. You must also caution him against showing any deference to your lady Goneril in front of Regan. And because I know the intrigue confuses you, let me map out your interest here. Edmund will dispatch your Lord Albany, thus releasing your lady to other affections, only then will we reveal to Cornwall that Edmund has cuckolded him with Regan, and the duke will dispatch the bastard, at which time, I will cast the love spell on Goneril, sending her into your own ferrety arms.† â€Å"You could be lying. I tried to have you killed. Why would you help me?† â€Å"Excellent question. First, I, unlike you, am not a villain, therefore I can be expected to proceed with a modicum of integrity. And, second, I wish to visit revenge on Goneril for how she has treated me, her younger sister, Cordelia, and King Lear. I can think of no better punishment for her than pairing her with the man-shaped tower of excrement that is yourself.† â€Å"Oh, that's reasonable,† said Oswald. â€Å"Off you go, then. See that Edmund doesn't show deference.† â€Å"I might slay him myself, for violating my lady.† â€Å"No, you won't, you're a coward. Or had you forgotten?† Oswald started to quiver then with anger, but he did not try to reach for his sword. â€Å"Run along, mate, Pocket's got a bumload of foolin' yet to do.† A randy hand of wind groped the courtyard, sending the sisters' skirts tossing and snapping their hair in their faces. Kent crouched and clung to his great broad-brimmed hat to keep it from being carried away. The old king held his fur cape tight around him and squinted against the dust, while the Duke of Cornwall and Earl of Gloucester stood by the great gate for shelter – the duke content, it seemed, to let his duchess do the talking. I was relieved to see that Edmund was not in attendance, so I danced into the courtyard, bells a-jingle, song in heart. â€Å"Hi ho!† said I. â€Å"Everyone get a proper bonking for the Saturnalia, did they?† The two sisters looked at me blankly, as if I might have been speaking Chinese or dog, and they had not, overnight, each received rousing repeated bonkings from an enormous donkey-donged nitwit. Gloucester looked down, embarrassed, I suppose, over abandoning his own pantheon for St. Stephen, and a wholly bollocks holy holiday feast. Cornwall sneered. â€Å"Ah,† said I. â€Å"Then a crispy biscuit baby Jesus cornu-bloody-copia of Christmas cheer, was it? Silent night, camels and wise men – frankenstein, gold, and myrrh all around then?† â€Å"Sodding Christian harpies want to take away my knights,† said Lear. â€Å"I've already lost half my train to you, Goneril, I'll not lose the rest.† â€Å"Oh, yes, sire,† said I. â€Å"Christianity is their fault. I forgot that the wind blew out of a pagan sky for you today.† Regan stepped forward then, and yes, she was walking a bit bow-legged. â€Å"Why do you need to keep fifty men, Father? We've plenty of servants to tend to you.† â€Å"And,† said Goneril, â€Å"they will be under our charge, so there will be no discord within the walls of our homes.† â€Å"I'm of my sister's mind on this,† said Regan. â€Å"You're always of your sister's mind,† said Lear. â€Å"An original thought would crack your feeble skull like a thunderbolt, you craven vulture.† â€Å"That's the spirit, sire,† said I. â€Å"Treat them like bins of used nappies and watch them come around. A wonder they've turned out so delightful with fathering of that quality.† â€Å"Take them, then, you flesh-tearing harpies! Would that I could drag your mother from her tomb and accuse her of most grievous adultery, for you cannot be issue from my loins and treat me so.† I nodded and lay my head on Goneril's shoulder. â€Å"Evidently the adultery comes from Mum's side of the family, pumpkin – the bitterness and stunning bosoms are from Papa.† She pushed me aside, despite my wisdom. Lear was losing all control now, trembling as he shouted impotently at his daughters, looking weaker and more slight with every word. â€Å"Hear me, gods! If it be you that stir these daughters' hearts against their father, then touch me with noble anger, and stain not my man's cheeks with women's weapons, the water drops.† â€Å"Those aren't tears on your cheeks, nuncle,† said I. â€Å"It's raining.† Gloucester and Cornwall looked away, embarrassed for the old man. Kent had his hands on the king's shoulders and was trying to lead him gently out of the rain. Lear shrugged him off and stormed up to his daughters. â€Å"You unnatural hags! I will have such revenges on you both that the world – er, I will do such things that I don't even know yet, but they will be horrible – the very terrors of the earth! But I'll not weep! I'll not. Even if my heart shall break into a hundred thousand shards, I shall not weep. O fool, I shall go mad!† â€Å"Aye, nuncle, smashing good start you're off to.† I tried to put an arm around Lear's shoulders, but he elbowed me away. â€Å"Rescind your orders, harpies, or I shall leave this house.† He made for the great gate. â€Å"It is for your own good, Father,† said Goneril. â€Å"Now, cease this ranting and come inside.† â€Å"I gave you all!† screeched Lear, waving a palsied claw at Regan. â€Å"And you took your bloody time giving it, too, you senile old fuck,† said Regan. â€Å"She came up with that one all on her own, nuncle,† said I, looking on the bright side. â€Å"I will go,† threatened Lear, another step toward the gate. â€Å"I'm not having you on. I'll head right out that door.† â€Å"Pity,† said Goneril. â€Å"Shame, really,† said Regan. â€Å"Here I go. Right out that gate. Never to return. All alone.† â€Å"Ta,† said Goneril. â€Å"Au revoir,† said Regan, in nearly perfect fucking French. â€Å"I mean it.† The old man was actually through the gate now. â€Å"Close it,† said Regan. â€Å"But, lady, it's not fit for man nor beast out there,† said Gloucester. â€Å"Fucking close it!† said Goneril. She ran forward and pushed the great iron lever by the gatehouse with all her might. The heavy, iron-clad portcullis slammed down, the points just missing the old king as they set in the ports a foot deep in the stone. â€Å"I'll go,† said Lear, through the grate. â€Å"Don't think I won't.† The sisters left the courtyard for the shelter of the castle. Cornwall followed them and called for Gloucester to come along. â€Å"But this storm,† said Gloucester, watching his old friend through the bars. â€Å"No one should be out in this storm.† â€Å"He brought it on himself,† said Cornwall. â€Å"Now, come along, good Gloucester.† Gloucester pulled himself away from the grate and followed Cornwall into the castle, leaving just Kent and me standing in the rain in only our woolen cloaks. Kent looked tortured over the old man's fate. â€Å"He's alone, Pocket. It's not even noon and the sky is as dark as midnight. Lear is outside and alone.† â€Å"Oh buggering bugger,† said I. I looked at the chains leading up to the top of the gatehouse, the beams that protruded from the walls, the crenellations at the top to protect the archers. Damn the anchoress and Belette for my monkey-training as an acrobat. â€Å"I'll go with him. But you have to hide Drool from Edmund. Talk to the laundress with the smashing knockers, she'll help. She fancies the lad, no matter what she says.† â€Å"I'll go get help to crank up the gate,† said Kent. â€Å"Not to worry. You look after the Natural, and watch your back for Edmund and Oswald. I'll return with the old man when I can.† And with that I shoved Jones down the back of my jerkin, ran and leapt onto the massive chain, spidered up it hand over hand, swung up onto one of the beams that protruded from the stone above, then hopped from beam to beam until I could find a handhold in the stone – and scurried up another story to the top of the wall. â€Å"Sorry sodding fortress,† I shouted to Kent with a wave. In a wink I was over the wall and down the drawbridge chains on the other side to the ground below. The old man was already at the gates of the walled village, nearly disappearing amid the rain, tottering out onto the heath in his fur cape, looking like an ancient sodden rat.

In the earth, the earth thou shalt be laid and answer the following questions

(a) What different arguments are presented through the poems two voices? (b) How do the poems language and structure contribute to its meaning? (c) Write about another of Brontà ¯Ã‚ ¿Ã‚ ½'s poems that has a death or a farewell as its subject matter, making some comparisons with the poem above. (a) In this poem â€Å"In the earth, the earth thou shalt be laid †¦Ã¢â‚¬  two adverse voices dispute the nature of death. The first warns of the grim finality and isolation of death. The second voice welcomes death as the bringer of peace after a life of troubles, and opposes the argument of oblivion with the prospect of posthumous kind remembrance. The first voice returns in the last two stanzas insisting that death brings complete annihilation and observes that the first speaker will be mourned by only one faithful individual. In the very first stanza, the first voice presents the second with the image of his grave: the laying of his body, the tombstone and the enfolding soil. The first voice talks of death as very final. It talks about the revoltingness of decomposition; warning of death's defiling bed: â€Å"Black mould beneath thee spread And black mould to cover thee†. The second voice welcomes the prospect of death. In stanza two, the second voice interrupts, creating a more sanguine tone. The voice seems to resign of death in â€Å"Well, there is rest there†, and the welcoming of death is expressed in the second line. The images this voice uses are by no means morbid. The second voice makes the argument that life is not restful and death is a time of great tranquillity and peace. It suggests death is a time when you and the environment come together as one. The twining of â€Å"sunny hair† with â€Å"grass-roots† suggests the intricate weaving of one life-from with another. The burial of fair hair takes down an implication of sunlight into the underlying darkness. The first voice returns in stanza three. This voice objects that â€Å"the rest† which the second voice looks forward to is only the chill rest of nothingness: â€Å"But cold, cold is that resting place Shut out from Joy and Liberty† There is no happiness of freedom in the oblivion and enclosure of the tomb. The first voice talks of the cold of the grave and that it is a place without any happiness or pleasure. It then counters the more positive attitude towards death of the second voice by expressing the fear and revulsion felt by the living towards the decaying of dead bodies and, therefore, the dead themselves: â€Å"And all who loved thy living face Shall shrink from its gloom and thee† The second's voice gives an emphatic rejection to the first's ideas. It suggests that, far from cold being the characteristic of death, it characterises the falsehood of the world and human relationships: â€Å"Not so, here the world is chill And sworn friends fall from me† This voice is very bitter about rejection. However, the rhythm the tone then lightens: â€Å"But there, they'll own me still And prize my memory† In death, he will be remembered and his worth recognised. He believes that his old friends from life will think of him fondly even if they were indifferent to him when alive. The first voice concludes the poems in the last two stanzas. In stanza five he seems almost contemptuous: â€Å"Farewell, then, all that love All that deep sympathy:† It is almost as if the first voice is dismissing the second as dead already. The nothingness of death is affirmed in a declaration of the indifference of heaven to human fate that is matched only by the indifference of the living: â€Å"Sleep on, heaven laughs above – Earth never misses thee -† In the final stanza the voice returns to the image of the grave with which the poem began, observing that the tomb irrevocably severs human relations. The last two lines are ambiguous, but seem to imply that there is, however, one person who mourns, one who was always faithful: â€Å"One heat broke, only† In conclusion, the two voices propose two completely different arguments into the nature of death. The first voice thinks of the physicality of being dead, and sees it as a time of cold and revulsion. The second voice thinks more of the state of being dead, perceiving death as a release from the troubles of life and enjoys the thought of people looking back fondly on his memory. (b) This poem, â€Å"In the earth, the earth† structure and language contribute a lot to the meaning of the poem. The six quatrains of this elegy are based on an iambic trimester and tetrameter, but with at least one substitution in most of the lines. In particular, the frequent substitution of a spondee in the first foot of each line helps to create the stately solemn tone that suits the subject. In the first stanza, the first voice presents the second with the image of his grace: the laying of the body, the tombstone and the enfolding soil. Key words in this image are emphasised by means of repetition, alliteration and word order. Thus the repetition of â€Å"the earth† in the first half of line 1 contributes to the setting of the melancholy, fatalistic tone. Alliteration in line 2 in â€Å"stone standing† builds on this. The repetition of â€Å"black mould† in lines 3 and 4 has a similar effect, but here the mould not only refers to the soil, but to the decay of the human body itself within the earth. â€Å"Black† likewise refers not only to the colour of the soul, but traditionally, in such a context, signifies death and mourning. But the whole elegiac effect is largely achieved by the word order that creates the heavily spondaic rhythm. In stanza 2, the second voice shows resignation in the â€Å"Well, there is rest there†, and the welcoming of death expressed in the second line. Moreover, in contrast with the image of death in the first stanza of â€Å"black earth† the image in lines 3 and 4 is by no means morbid; the â€Å"sunny hair† recalls life which is nurtured by sun, and the grass-roots refer to the means of life in the soil. Thus the whole curious effect is the image of weaving them together of two forms of life. The rhythm is highly irregular, for example with the substitution of two dactyls. Again this is an important factor in achieving the different tone of the second voice. The only spondee in this stanza falls appropriately on â€Å"grass roots†. The first voice returns in stanza three. The repetition of â€Å"But cold, cold† echoes the opening of stanza 1 (â€Å"In the earth, the earth†), and recaptures the contrasting tone. The voice objects that â€Å"the rest† which the second voice looks forward to is only the chill rest of nothingness: â€Å"But cold, cold is that resting place Shut out from Joy and Liberty† There is no happiness or freedom in the oblivion and enclosure of the tomb. It then counters the more positive attitude towards death of the second voice by expressing the fear and revulsion left by the living towards the evidence of decay (the grave, â€Å"that resting place†) and by extension towards the dead themselves: â€Å"And all who loved thy living face Shall shrink from its gloom and thee† Alliteration in â€Å"all†, â€Å"loved†, â€Å"living† and â€Å"Shall shrink† lend fluency to these lines, whose rhythm is more regular than the second stanza, thus giving this voice a more matter-of-fact tone and saving it from melodrama. In stanza four, the second voice's emphatic rejection of the first is signalled by the opening negative â€Å"Not so†, and by the italicised antithesis of â€Å"here† and â€Å"there† around which the stanza is built. The voice suggests that far from cold being the characteristic of death, it characterises the falsehood of the world and human relationships: â€Å"Nor so, here the world is chill And sworn friends fall from me† Assonance and alliteration (â€Å"friends fall from†) bind these lines and assist the emphasis. The rhythm also greatly contributes to this. The second foot of line 1 is a trochee, giving the italicised â€Å"here† appropriate stress. In line 2 three consecutive stressed syllables (â€Å"sworn friends fall†) reinforce the bitterness of the reflection. But in the contrasting lines 3 and 4 the rhythm lightens into regular iambs: â€Å"But there they'll own me still And prize my memory† The italicised â€Å"there† falls naturally on the stressed syllable of a regular iambic tetrameter. In death, he will be remembered and his worth recognised. The first voice concludes the poem in these final two stanzas. Again the characteristic of the voice is repetition. In stanza 5 the tone appears almost contemptuous: â€Å"Farewell, then, all that love All that deep sympathy:† It is almost as if the first voice dismisses the second as dead already. The nothingness of death is affirmed in a declaration of the indifference of heaven to human fate that is matched only by the indifference of the living: â€Å"Sleep on, heaven laughs above – Earth never misses thee -† In the final stanza the voice returns to the image of the grave with which the poem began, observing that the tomb irrevocably severs human relations. The last two lines are ambiguous, but seem to imply that there is, however, one person who mourns, one who was always faithful. Repetition and italicisation (â€Å"One heart†¦That Heart†) and the spondees falling at the beginning of lines give the ending of the poem a heightened dramatic tone. (c) Another of Brontà ¯Ã‚ ¿Ã‚ ½'s poems that has a death or a farewell as the subject matter is â€Å"Remembrance†. Like â€Å"In the earth, the earth† this poem is an elegy: the speaker in the poem reflects on the loss of the beloved. It consists of eight quatrains, whereas â€Å"In the earth† has only six, but like the above poem it is rhymed abab. This poem is written in the first person. There is only one voice in this poem. The poet appears to be contemplating the cold and isolated grave of her beloved and look back over the fifteen years since his death. The idea of the grave as â€Å"cold† and lonely reflects the ideas of the first voice in â€Å"In the earth†. The poet asks the lovers forgiveness for having forgotten him â€Å"While the world's tide is bearing me along†. But preoccupation with worldly matters has never distorted her love of him; she has loved none other. This sentiment of one person who faithfully mourns after death reflects the poem â€Å"In the earth† in the lines: â€Å"On heart broke only, there That heart was worthy thee! -† The poet then goes on to say how after a period of utter despair she deliberately turned away from grieving for him, learning to continue her existence even while recognising that she had no hope of future happiness. In the last stanza she acknowledges the fragility of her efforts at stoical acceptance. She dare not let her thoughts dwell upon him for fear that life would thereafter be unendurable. Like the first voice of the poem discussed earlier, this poem has a very slow rhythm and an intensely sorrowful tone. Also like the other poem, repetition of key words such as â€Å"far†, â€Å"cold† and â€Å"severed† enforce their points. The imagery of snow and distant, wild landscapes conveys a bleak, chill atmosphere. Brontà ¯Ã‚ ¿Ã‚ ½ also uses assonance in both poems, here on the different ‘o' sounds in stanza two, building the atmosphere of sorrowful retrospection: â€Å"Now, when alone, do my thoughts no longer hover Over the mountains on that northern shore †¦Ã¢â‚¬  Another similar effect Brontà ¯Ã‚ ¿Ã‚ ½ uses in both poems in repeating the opening of the poem. In â€Å"In the Earth†, she uses repetition to reflect the opening and also returns to imagery of the cold, isolated grave. In this poem, the first half of stanza three repeats the actual opening of the poem â€Å"Cold in the earth†. Ironically, this echoes the two uses of repetition used in the earlier poem: â€Å"In the earth, the earth† and â€Å"But cold, cold†. Also, this poem talks about two completely different feelings towards the death of her lover, just as the two voices in â€Å"In the earth† compare two completely different views towards death itself.

Essay on Poverty in Gwinnett County, Georgia - 1120 Words

Introduction Nelson Mandela once said, Overcoming poverty is not a task of charity, it is an act of justice. Like Slavery and Apartheid, poverty is not natural. It is man-made and it can be overcome and eradicated by the actions of human beings. Sometimes it falls on a generation to be great. YOU can be that great generation. Let your greatness blossom† (Make Poverty History, 2005). Gwinnett county is third in the country when it comes to a high poverty rate, with 14% of the population living below poverty (Family Promise of Gwinnet County, 2013). As an educator it is important to familiarize with the county of which one is to teach in, and poverty is an issue in Gwinnett county. One must understand the affects of poverty on†¦show more content†¦These events are affecting the childrens learning, thus their knowledge foundation for the next grade level will suffer. According to city-data.com (2013), in 2012 Gwinnett county had 44% White, 22.9% Black, 20.1% Hispanic o r Latino, 10.5% Asian, and 2% two or more races. This means that the Black, Hispanic, and Latino communities almost make up half of the population in Gwinnett. When relating poverty to the achievement gap, one can see the correlation. The achievement gap is the discrepancy in academic performance between groups of students, it is more often used to describe the troubling performance gaps between African-American and Hispanic students at the lower end of the performance scale. Many students who are living in poverty fall within these backgrounds and it is understandable why their grades and school performances are suffering. Abraham Maslow’s pyramid of hierarchy needs show that before a child is able to learn or perform any kind of activity, the basic needs must be met, food, shelter, and water (Shaffer, 2014, pp 158). When a child is living in poverty, food is a luxury item. Poverty is connected to achievement gaps because children who are living in poverty are most likely not able to fulfill their basic needs let alone do their homework. For instance, these children might only receive one meal a day, which isShow MoreRelatedCase Analysis Of Senate Bill 881271 Words   |  6 Pageswhom is the State Senator of the Republican Party in district 53. Senator Mullis serves as the executive director as of 2001. His birthday is December 27. Mr. Mullis was born and raised in Chickamauga, GA. He is married to Teresa Nicholas of Dade County. They have a total of three children. He is a member of Chickamauga First Baptist Church. Senator Mullis is the chairman of the senate rules committee, chairman of the Economic Development Subcommittee of Senate Appropriations, a member of the bankingRead MoreFine Arts Should Be School Sponsored1513 Words   |  7 Pagesstate of Georgia have come back with amazing res ults for the cause. 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