The secret agent Mother and sister- hold up in a cottage, reading the autobiography of a prisioner.

It doesn't seem very nice for Stevie. Stevie left to his own devices. Verloc, a bomb and a detonator. rom the underground station at the observatory. Michaelis- anarchist, Stevie. Verloc reflects on it later. !lenty of time- Verloc consider Stevie e"pendable. #ear the burden of having the bomb on his person. $e didn't intend anything bad to happen. Stevie- he is mentally disabled. %fterwards he was figuring out how could he tell &innie about it. $e had to tell somebody. $e has to come out with the truth. 'ivalry- that seem to develop about that small piece of cloth. $eat- put the pressure noun( ironic name..). She doesn't *now about that . Michaelis-underground. Mrs Verloc- awful way of *nowing about the detail. She hears it- remotedly. Terrible e"perience for her. She blames him for what happened. +obody tal*s about a funeral for Stevie. +ame and adress. $e forgives that, he firgives &innie and he is patient. ( that seems ironic). She became so angry. $e reali,ed that he is in the way for prison, he has ta*en the money from the ban*. -onradfeminist- Ibsen's plays. Very few women- $e tries to portray's &innie's conciousness- . I'm a free woman/. !articularly in the last two chapters. Verloc seem 0uite comfortable in death. She goes in blac*- she has got the wallet with all the money in it. 1umping to her death from a bridge. $opeless, lonely...Suicide was the only answer. $er dispair was she doesn't have the information rather than she has to pay for what she had done. She left her husband died on the sofa. &hat we read in the end comes from a newspaper. It seems destin to him. Madness or dispair. 2ne thing that he sees in the newspaper. Suicide of a lady passenger from a cross channel boat. The only one who reali,es the two stories were connected. Stevie is certainly sacrified- victim- for what3The bomb was an assault in the new science- we don't heard anything about that, it 4ust seems a terrible accident. &hat his novel does not clear obscurity or mistery, it ta*es them deeper. &innie would be unable to live a new life in a foreign country. &innie could not face life in another place .The emotional pressure is too much to stand a new life.

WILLIAM BUTLER YEATS &illiam 5ates inspired in the Irish landscape. 6 of the 5ates have free passes to go by ship in 7ngland and Ireland. riendships among the poets. 1ust write art for art's sa*e. $is love for the irish's landscape. Inisfree, the gardens of Sally( -or*). $e loved to write about the roots of the Irish e"perience. They didn't need *ing %rthur, their own mithology, language.5ates didn't *now Irish language. It is very different to -onrad's scenery of 8ondon. 7liot9 :nreal city. -2+V7'S%TI2+%8 !27M( the poet is tal*ing about Maud gone and her sister). $e had really loved and he hasn't been payed off. % dissapointed lover. 5eats was always there, Maud wanted another *ind of man. They had a group of poet- there is an urge in Ireland to write poetry. $e mi"ed strictly poetic- universality of %dam's fall. %dam;s -urse &e sat together at one summer;s end, That beautiful mild woman, your close friend, %nd you and I, and tal*ed of poetry. I said, <% line will ta*e us hours maybe= 5et if it does not seem a moment;s thought, 2ur stitching and unstitching has been naught. #etter go down upon your marrow-bones %nd scrub a *itchen pavement, or brea* stones 8i*e an old pauper, in all *inds of weather= or to articulate sweet sounds together Is to wor* harder than all these, and yet #e thought an idler by the noisy set 2f ban*ers, schoolmasters, and clergymen The martyrs call the world.; %nd thereupon That beautiful mild woman for whose sa*e There;s many a one shall find out all heartache 2n finding that her voice is sweet and low 'eplied, <To be born woman is to *now> %lthough they do not tal* of it at school> That we must labour to be beautiful.;

I said, <It;s certain there is no fine thing Since %dam;s fall but needs much labouring. There have been lovers who thought love should be So much compounded of high courtesy That they would sigh and 0uote with learned loo*s !recedents out of beautiful old boo*s= 5et now it seems an idle trade enough.; &e sat grown 0uiet at the name of love= &e saw the last embers of daylight die, %nd in the trembling blue-green of the s*y % moon, worn as if it had been a shell &ashed by time;s waters as they rose and fell %bout the stars and bro*e in days and years. I had a thought for no one;s but your ears9 That you were beautiful, and that I strove To love you in the old high way of love= That it had all seemed happy, and yet we;d grown %s weary-hearted as that hollow moon. Source9 The Collected Poems of W. B. Yeat

?2&+ #5 T$7 S%8875 @%'?7+S by: W.B. Yeats 2&+ by the salley gardens my love and I did meet= She passed the salley gardens with little snow-white feet. She bid me ta*e love easy, as the leaves grow on the tree= #ut I, being young and foolish, with her would not agree. In a field by the river my love and I did stand, %nd on my leaning shoulder she laid her snow-white hand. She bid me ta*e life easy, as the grass grows on the weirs= #ut I was young and foolish, and now am full of tears. % young man's poem which endend unhappily. $e was unable to thin* that it was 4ust a casual romance. ?id he really thin* that he could repair her words3 . Ta*e life easy/. @oing by the river, putting his hand in her shoulder. $e

is living in a state of unrecorded love. $e was in love with a girl that he met in a house of an irish nationalist ,a military. To whom she was married. She had a relatonship with a man who was ruffy and abused her, a military whose surname was Mc#ride. 5ates proposed to Maud for a long time. $is father read &alden to his children. The la*e of Inisfree was inspired in Thoreau.

Who Goes With Fergus? by William Butler Yeats &$2 will go drive with ergus now, %nd pierce the deep wood's woven shade, %nd dance upon the level shore3 5oung man, lift up your russet brow, %nd lift your tender eyelids, maid, %nd brood on hopes and fear no more. %nd no more turn aside and brood :pon love's bitter mystery= or ergus rules the bra,en cars, %nd rules the shadows of the wood, %nd the white breast of the dim sea %nd all dishevelled wandering stars. ( Las desordenadas estrellas- woods dangerous in Irelandbut here they ha e got an allure of fascination.! "o second Troy &$5 should I blame her that she filled my days &ith misery, or that she would of late $ave taught to ignorant men most violent ways, 2r hurled the little streets upon the great. $ad they but courage e0ual to desire3 &hat could have made her peaceful with a mind That nobleness made simple as a fire,

&ith beauty li*e a tightened bow, a *ind That is not natural in an age li*e this, #eing high and solitary and most stern3 &hy, what could she have done, being what she is3 &as there another Troy for her to burn3 $7 -2M!%'7S $7' &IT$ $787+ 2 T'25. $e is tal*ing that he was himself interested in a free Ireland. She went further politically than him, she was 0uite a revolutionist. 'unning away in romance. $is notion that Maud was passionate, there was no stopping her. The only other poet who writes sonnets li*e this, the methaphysical poet 1ohn ?one. A Coat I M%?7 my song a coat -overed with embroideries 2ut of old mythologies rom heel to throat= #ut the fools caught it, &ore it in the world's eyes %s though they'd wrought it.Song, let them ta*e it, or there's more enterprise In wal*ing na*ed. &illiam #utler 5eats AMany followers- 5eats declares he doesn't need a coat that he prefers going na*ed. The 8a*e Isle of Innisfree #5 &I88I%M #:T87' 57%TS I will arise and go now, and go to Innisfree,

%nd a small cabin build there, of clay and wattles made= +ine bean-rows will I have there, a hive for the honeybee, %nd live alone in the bee-loud glade. %nd I shall have some peace there, for peace comes dropping slow, ?ropping from the veils of the morning to where the cric*et sings= There midnight;s all a glimmer, and noon a purple glow, %nd evening full of the linnet;s wings. I will arise and go now, for always night and day I hear la*e water lapping with low sounds by the shore= &hile I stand on the roadway, or on the pavements grey, I hear it in the deep heart;s core. Based on Thoreau#s Walden. $e was not a farmer but he li%ed the idea of li ing a cabin in nature &li%e Walden. ' eryone li%es honey& (od watches o er e en the bees. Bees- domestic creatures. ) nice thing to ha e in your home. ** +e,tember -.*- Class

September 1913 by William Butler Yeats(1865-1939)

He seems to believe that his country people are only interested in money. We are adress in that way, Irish no possibility of defending themselves. Miserable point of view. His country man just want to count the money. In some way use prayer either to see god approval of yourself or to save others from purgatory. Stanzas. Irish in favour of going to other people's war. Wild geese- mercenary soldiers- helping another countries in war. They weren't brave- Yeats was angry with Irish.

What need you, being come to sense, But fumble( hold) in a greasy till And add the halfpence to the pence And prayer to shivering prayer, until You have dried the marrow from the bone; For men were born to pray and save; omantic !reland"s dead and gone, !t"s with #"$eary in the grave%

Yet they were of a different &ind, 'he names that stilled your childish play, 'hey have gone about the world li&e wind, But little time had they to pray For whom the hangman"s rope was spun, And what, (od help us, could they save) omantic !reland"s dead and gone, !t"s with #"$eary in the grave% Referring to the soldiers that fight in other country's wars-mercenaries Was it for this the wild geese( *+,-, B! *) spread 'he grey wing upon every tide; For this that all that blood was shed, For this .dward Fit/gerald died, And obert .mmet and Wolfe 'one, All that delirium of the brave)Bitter irony, you have to be crazy... omantic !reland"s dead and gone, !t"s with #"$eary in the grave% Yet could we turn the years again, And call those e0iles as they were !n all their loneliness and pain, You"d cry 12ome woman"s yellow hair 3as maddened every mother"s son"4( he really insult the people he wrote 'hey weighed so lightly what they gave% The poem about) But let them be, they"re dead and gone, 'hey"re with #"$eary in the grave%

Easter 1916
BANK HOLIDAYS- they thought that it was a perfect day to attack the main british building in Dublin. They had places all over the city. Biscuit factory. Prepared to declare Ireland a free nation. The soldiers of 1916 forgot to cut the telephone, so it was no long when they had defense there. The british decided to kill the seven leaders of the revolution. The common people didn't know what was going on until they found out the punishment. The leaders being executed was too much.The didn't execute Constance because she was a woman and they didn't execute another one, whose relative was American, and British didn't want to have trouble with Americans. A terrible beauty. They live where motley is born- they were multi colored, bright colored like clowns, the people who leave near 1916 real patriots. Yates feels surprised about it. He realizes that he has to approach what they did with understanding and respect. How different the two poems are. I HAVE met them at close of day ,oming with vivid faces From counter or des& among grey .ighteenth5century houses% ! have passed with a nod of the head #r polite meaningless words,

#r have lingered awhile and said 6olite meaningless words, And thought before ! had done #f a moc&ing tale or a gibe 'o please a companion Around the fire at the club, Being certain that they and ! But lived where motley is worn4 All changed, changed utterly4 A terrible beauty is born% 'hat woman"s days were spent !n ignorant good5will, 3er nights in argument +ntil her voice grew shrill( very high and unpleasant sound) What voice more sweet than hers When, young and beautiful, 2he rode to harriers) 'his man had &ept a school And rode our winged horse; 'his other his helper and friend Was coming into his force; 3e might have won fame in the end, 2o sensitive his nature seemed, 2o daring and sweet his thought% 'his other man ! had dreamed A drun&en, vainglorious lout%( violent, rude man) 3e had done most bitter wrong 'o some who are near my heart, Yet ! number him in the song; 3e, too, has resigned his part !n the casual comedy; 3e, too, has been changed in his turn, 'ransformed utterly4 A terrible beauty is born% 3earts with one purpose alone 'hrough summer and winter seem .nchanted to a stone 'o trouble the living stream%( small river) 'he horse that comes from the road% 'he rider, the birds that range From cloud to tumbling( falling down cloud)) cloud, 7inute by minute they change; A shadow of cloud on the stream ,hanges minute by minute; A horse5hoof slides on the brim, And a horse plashes within it; 'he long5legged moor5hens dive,

And hens to moor5coc&s call; 7inute by minute they live4 'he stone"s in the midst of all% 'oo long a sacrifice ,an ma&e a stone of the heart% # when may it suffice) 'hat is 3eaven"s part, our part 'o murmur name upon name, As a mother names her child When sleep at last has come #n limbs that had run wild% What is it but nightfall) 8o, no, not night but death; Was it needless death after all) For .ngland may &eep faith For all that is done and said% We &now their dream; enough 'o &now they dreamed and are dead; And what if e0cess of love Bewildered( confuse) them till they died) ! write it out in a verse 5 7ac*onagh and 7acBride And ,onnolly and 6earse 8ow and in time to be, Wherever green is worn, Are changed, changed utterly4 A terrible beauty is born%

He has a friend, Gregory who invited his friends to her house, that was magnificent and quite. Coole is a national park. It was Lady Gregory's personal refuges. Belling a cab or a cow but not swans?The sound Yeats thinks he hears is beautiful. He does have the belief, a poor swans that is by itself, Yeats childish idea that the Swans he sees that year would be the same next year.

. The

Wild Swans at Coole

THE TREES are in their autumn beauty, The woodland paths are dry, Under the October twilight the water Mirrors a still sky Upon the brimming water among the stones 5!re nine and "i"ty swans. The nineteenth !utumn has come upon me Since # "irst made my count # saw, be"ore # had well "inished,

!ll suddenly mount 10!nd scatter wheeling in great broken rings Upon their clamorous wings. # ha$e looked upon those brilliant creatures, !nd now my heart is sore. !ll%s changed since #, hearing at twilight, 15The "irst time on this shore, The bell&beat o" their wings abo$e my head, Trod with a lighter tread. Unwearied still, lo$er by lo$er, They paddle in the cold, 20'ompanionable streams or climb the air Their hearts ha$e not grown old (assion or con)uest, wander where they will, !ttend upon them still. *ut now they dri"t on the still water 25Mysterious, beauti"ul !mong what rushes will they build, *y what lake%s edge or pool +elight men%s eyes, when # awake some day To "ind they ha$e "lown away,
What made Yeats so modern),onversational poetry, e0plain modern events li&e history% .aster 9:9;5 the .aster rising all about% Yates, it shows that he is very romantic, Yates 5use modern language in writing his poems% 3e could writ e about !reland as a breathing thing, he thought he could spea& for !reland% ,ompletely concerned with the beauty of !reland% ,ontinuing things that are mithological and historical and also loving nature% 'he use of something that goes bac& to the 9<th century, closing couplet% Form regular and it serves him well%

-illiam *utler .eats /0123&04546

THE SECOND COMING Turning and turning in the widening gyre The "alcon cannot hear the "alconer Things "all apart the centre cannot hold Mere anarchy is loosed upon the world, The blood&dimmed tide is loosed, and e$erywhere The ceremony o" innocence is drowned The best lack all con$iction, while the worst !re "ull o" passionate intensity. Surely some re$elation is at hand Surely the Second 'oming is at hand. The Second 'oming7 Hardly are those words out -hen a $ast image out o" Spiritus Mundi Troubles my sight8 a waste o" desert sand ! shape with lion body and the head o" a man, ! ga9e blank and pitiless as the sun, #s mo$ing its slow thighs, while all about it -ind shadows o" the indignant desert birds. The darkness drops again but now # know That twenty centuries o" stony sleep -ere $e:ed to nightmare by a rocking cradle, !nd what rough beast, its hour come round at last, Slouches towards *ethlehem to be born,
El Segundo !d$enimiento /-illiam *utler .eats6 ;irando y girando en el circulo creciente el halc<n no puede o=r al halconero todo se deshace el centro no puede sostenerse, suelta $a por el mundo la pura anar)u=a. Suelta $a la marea turbia de sangre, y por do)uier se ahoga la ceremonia de la inocencia los me>ores carecen de toda con$icci<n, mientras los peores est?n llenos de apasionada intensidad. Sin duda se apro:ima alguna re$elaci<n, sin duda se apro:ima el Segundo !d$enimiento. @El Segundo !d$enimiento7 !penas pronunciadas esas palabras cuando una $asta imagen sacada del ASpiritus MundiA enturbia mi $ista8 en algBn lugar entre arenas del desierto una "orma con cuerpo de le<n y cabe9a humana,

A Prayer for my Dau hter Once more the storm is howling, and hal" hid Under this cradle&hood and co$erlid My child sleeps on. There is no obstacle *ut ;regoryCs wood and one bare hill -hereby the haystack& and roo"&le$elling wind, *red on the !tlantic, can be stayed !nd "or an hour # ha$e walked and prayed *ecause o" the great gloom that is in my mind. # ha$e walked and prayed "or this young child an hour !nd heard the sea&wind scream upon the tower, !nd under the arches o" the bridge, and scream #n the elms/olmos6 abo$e the "looded stream #magining in e:cited re$erie That the "uture years had come, +ancing to a "ren9ied drum, Out o" the murderous innocence o" the sea. May she be granted beauty and yet not *eauty to make a strangerCs eye distraught/upset6, Or hers be"ore a looking&glass, "or such, *eing made beauti"ul o$ermuch, 'onsider beauty a su""icient end, Dose natural kindness and maybe The heart&re$ealing intimacy That chooses right, and ne$er "ind a "riend. Helen being chosen "ound li"e "lat and dull !nd later had much trouble "rom a "ool, -hile that great Eueen, that rose out o" the spray, *eing "atherless could ha$e her way .et chose a bandy&leggd smith "or man. #tCs certain that "ine women eat &toast salads. ! cra9y salad with their meat -hereby the Horn o" (lenty is undone. & itCs kind o" a >oke o" the poet #n courtesy #Cd ha$e her chie"ly learned Hearts are not had as a gi"t but hearts are earned *y those that are not entirely beauti"ul .et many, that ha$e played the "ool For beautyCs $ery sel", has charm made wise, !nd many a poor man that has ro$ed, Do$ed and thought himsel" belo$ed, From a glad kindness cannot take his eyes. May she become a "lourishing hidden tree That all her thoughts may like the linnet be, !nd ha$e no business but dispensing round Their magnanimities o" sound, Gor but in merriment begin a chase, Gor but in merriment a )uarrel.

O may she li$e like some green laurel Rooted in one dear perpetual place. My mind, because the minds that # ha$e lo$ed, The sort o" beauty that # ha$e appro$ed, (rosper but little, has dried up o" late, .et knows that to be choked with hate May well be o" all e$il chances chie". #" thereCs no hatred in a mind !ssault and battery o" the wind 'an ne$er tear the linnet "rom the lea". !n intellectual hatred is the worst, So let her think opinions are accursed. / tell the attacker something he likes Ha$e # not seen the lo$eliest woman born in order not to be attacked6 Out o" the mouth o" (lentyCs horn, *ecause o" her opinionated mind *arter that horn and e$ery good *y )uiet natures understood For an old bellows "ull o" angry wind, 'onsidering that, all hatred dri$en hence, The soul reco$ers radical innocence !nd learns at last that it is sel"&delighting, Sel"&appeasing, sel"&a""righting, !nd that its own sweet will is Hea$enCs will She can, though e$ery "ace should scowl !nd e$ery windy )uarter howl Or e$ery bellows burst, be happy still. / shout $iolently6 !nd may her bridegroom bring her to a house -here allCs accustomed, ceremonious For arrogance and hatred are the wares (eddled in the thorough"ares. How but in custom and in ceremony !re innocence and beauty born, 'eremonyCs a name "or the rich horn, !nd custom "or the spreading laurel tree. Hune 0404 3e hoped his daughter not to be as beautiful as 7aud was, because he could never forget her% 2he was =ust so beautiful% ,ourtesy5 more than than& you but -!8*8.22% Flourishing hidden trees% ooted in one perpetual place% Women intuition and nature% 8eed at certain point to become angry% 3e is supremely old5fashioned in what he wanted for his daughter% 3e wants his daughter living in prosperity and happiness%

A Prayer for My Son

*id a strong ghost stand at the head That my Michael may sleep sound, Gor cry, nor turn in the bed Till his morning meal come round !nd may departing twilight keep !ll dread a"ar till morning%s back. That his mother may not lack Her "ill o" sleep. *id the ghost ha$e sword in "ist8 Some there are, "or # a$ow / make a public statement6 Such de$ilish things e:ist, -ho ha$e planned his murder, "or they know O" some most haughty deed or thought That waits upon his "uture days, !nd would through hatred o" the bays *ring that to nought./9ero6 Though .ou can "ashion e$erything From nothing e$ery day, and teach The morning stats to sing, .ou ha$e lacked articulate speech To tell .our simplest want, and known, -ailing upon a woman%s knee, !ll o" that worst ignominy O" "lesh and bone !nd when through all the town there ran The ser$ants o" .our enemy, ! woman and a man, Unless the Holy -ritings lie, Hurried through the smooth and rough !nd through the "ertile and waste, (rotecting, till the danger past, -ith human lo$e. 2ailing to By/antium '3A' is no country for old men% 'he young !n one another"s arms, birds in the trees 5 'hose dying generations 5 at their song, 'he salmon5falls, the mac&erel5crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies% ,aught in that sensual music all neglect 7onuments of unageing intellect% An aged man is but a paltry thing, A tattered coat upon a stic&, unless

2oul clap its hands and sing, and louder sing For every tatter in its mortal dress, 8or is there singing school but studying 7onuments of its own magnificence; And therefore ! have sailed the seas and come 'o the holy city of By/antium% # sages standing in (od"s holy fire As in the gold mosaic of a wall, ,ome from the holy fire, perne in a gyre, And be the singing5masters of my soul% ,onsume my heart away; sic& with desire And fastened to a dying animal !t &nows not what it is; and gather me !nto the artifice of eternity% #nce out of nature ! shall never ta&e 7y bodily form from any natural thing, But such a form as (recian goldsmiths ma&e #f hammered gold and gold enamelling 'o &eep a drowsy .mperor awa&e; #r set upon a golden bough to sing 'o lords and ladies of By/antium #f what is past, or passing, or to come% 3uman, running at night after the soldiers have gone to sleep5+nderworld, the realm of the dead5 3ades% $ife after death% 3is whole humanity has changed and that is part of the world of the living% A living creature his own life and desire for freedom% 3e stills conceds life and nature% 8ecessity of a world of art% *olphins5 goodness, even more of a flame that there was in > 2ailing to By/antium? 'houghts of the poet%What the meaning of the second poem really is% Yates, one time, school inspector, visiting the school, this poem5 ironic% Yates really thought that children should be educated in that way% ,hildren, study reading boo&s and history, in the best modern way% ,hildren &new how to do things% *o things li&e sewing and cutting% 'here wasn"t @uite the thing in other schools% 'he modern of helen of 'roy% Yates spea&ing again about his love of 7aud (onne% BYAA8'!+7

The un!ur ed ima es of day re"ede#The Em!eror$s drun%en soldiery are a&ed#Ni ht resonan"e re"edes' ni ht wal%ers$ son After reat "athedral on #A starlit or a moonlit dome disdainsAll that man is'All mere "om!le(ities'The fury and the mire of human )eins*+efore me floats an ima e' man or shade'Shade more than man' more ima e than a shade#,or Hades$ &o&&in &ound in mummy-"lothMay unwind the

windin !ath#A mouth that has no moisture and no &reath +reathless mouths may summon#I hail the su!erhuman#I "all it death-in-life and life-in-death*Mira"le' &ird or olden handiwor%'More mira"l" than &ird or handiwor%'Planted on the star-lit olden &ou h'Can li%e the "o"%s of Hades "row'Or' &y the moon em&ittered' s"orn aloudIn lory of "han eless metalCommon &ird or !etalAnd all "om!le(ities of mire or &lood*At midni ht on the Em!eror$s !a)ement flit,lames that no fa ot feeds' nor steel has lit'Nor storm distur&s' flames &e otten of flame'Where &lood-&e otten s!irits "omeAnd all "om!le(ities of fury lea)e'Dyin into a dan"e'An a ony of tran"e'An a ony of flame that "annot sin e a slee)e*Astraddle on the dol!hin$s mire and &lood'S!irit after S!irit. The smithies &rea% the flood*The olden smithies of the Em!eror. Mar&les of the dan"in floor+rea% &itter furies of "om!le(ity' Those ima es that yet,resh ima es &e et'That dol!hin-torn' that on -tormented sea.

William Butler YeatsAmon

I

S"hool Children

I walk through the long schoolroom questioning;A kind old nun in a white hood replies;The children learn to cipher and to sing,To study reading-books and histories, To cut and sew, be neat in everythingIn the best modern way - the children's eyesIn momentary wonder stare uponA sixty-year-old smiling public man II I dream o! a "edaean body, bentAbove a sinking !ire a tale that sheTold o! a harsh reproo!, or trivial event That changed some childish day to tragedy -Told, and it seemed that our two natures blentInto a sphere !rom youth!ul sympathy,#r else, to alter $lato's parable,Into

the yolk and white o! the one shell III And thinking o! that !it o! grie! or rageI look upon one child or t'other thereAnd wonder i! she stood so at that age -%or even daughters o! the swan can share &omething o! every paddler's heritage -And had that colour upon cheek or hair,And thereupon my heart is driven wild'&he stands be!ore me as a living child I( )er present image !loats into the mind -*id +uattrocento !inger !ashion it)ollow o! cheek as though it drank the windAnd took a mess o! shadows !or its meat,And I though never o! "edaean kind)ad pretty plumage once - enough o! that,-etter to smile on all that smile, and showThere is a com!ortable kind o! old scarecrow ( .hat youth!ul mother, a shape upon her lap)oney o! generation had betrayed,And that must sleep, shriek, struggle to escapeAs recollection or the drug decide, .ould think her &on, did she but see that shape.ith sixty or more winters on its head,A compensation !or the pang o! his birth,#r the uncertainty o! his setting !orth, (I $lato thought nature but a spume that plays/pon a

ghostly paradigm o! things;&olider Aristotle played the taws/pon the bottom o! a king o! kings;.orld-!amous golden-thighed $ythagoras%ingered upon a !iddle-stick or strings.hat a star sang and careless 0uses heard' #ld clothes upon old sticks to scare a bird (II -oth nuns and mothers worship images,-ut those the candles light are not as thoseThat animate a mother's reveries,-ut keep a marble or a bron1e repose And yet they too break hearts - # $resencesThat passion, piety or a!!ection knows,And that all heavenly glory symbolise -# sel!-born mockers o! man's enterprise; (III "abour is blossoming or dancing whereThe body is not bruised to pleasure soul 2or beauty born out o! its own despair,2or blear-eyed wisdom out o! midnight oil # chestnut-tree, great-rooted blossomer,Are you the lea!, the blossom or the bole,# body swayed to music, # brightening glance,)ow can we know the dancer !rom the dance,
&e can't get the idea of the dance from the dancer. Insipre the young to participate in the creative process. +ever losing sight what he came to &aterford to analy,e a class. I wonder how Maud was when she was a child. $e was in &aterford- you don't *now how the children are going to be with si"teen. 5ou can't teach children to learn to dance.

Los cisnes salvajes de Coole Los rboles estn en plena belleza otoal, y los senderos del bosque estn secos,

en el crepsculo de octubre el agua refleja un cielo quieto; sobre el agua que desborda las piedras hay cincuenta y nueve cisnes. Diecinueve otoos e cayeron enci a desde la pri era vez que los contara; y vi, ucho antes de haber ter inado que todos de repente vuelo alzaban dispersndose en grandes anillos rotos en revuelo de alas cla orosas. !o apreciaba esas criaturas brillantes y hoy i coraz"n est dolido. #odo ca bi" desde que, al o$r en el ocaso, por pri era vez en esta costa sobre i cabeza el taer de sus alas con paso s ligero ca inara. %rescos an, a ante con a ante, chapotean en las fr$as y afables corrientes o por el aire ascienden. &us corazones no han envejecido; vagan a su antojo, pues pasi"n o conquista an los esperan. %lotan ahora sobre el agua tranquila, isteriosos y bellos. '(ntre qu) juncos se asentarn, al borde de cul lago o estanque deleitarn los ojos de los ho bres cuando despierte yo algn d$a para descubrir que se han volado* +illia ,utler !eats -Dubl$n, ./0123oquebrune24ap25artin, %rancia, .6768, Antologa potica, traducci"n y pr"logo de Delia 9asini, (ditorial Losada, ,uenos :ires, ;<.. :da =s 4urse. #he one about >riting poetry. ?ard >or@, hard >or@ should be easy. 5aud Aonne or Bo &econd #roy. Creland2 a history

lessons D (aster .6.0E. Cn his last period, ,izanzyu . !eats reaching into the poc@et, pulling up >hat he needed. Crish ythology. ,izanzyu 2 you could do that. #he east and the >est. 5osaics in the >alls fascinating. 4o pared the @ind of art being ore re oved fro the vie>er. 9oe , city, all that athered. !ou can just create, agical city of ,yzanzyu . 4ross into the under>orld. %ro that perspective you should be perfectly able. !eats also to>ards the end of his life, school inspector. ?e >as able to >rite >hen he sa> school children. Do things in the best odern >ay. (ventually, the true subject of the poe . : hill, a ountain, poet and sculture do the >ie@.

n!er Ben Bulben

William Butler Yeats (1939) " 2wear by what the sages spo&e ound the 7areotic $a&e 'hat the Witch of Atlas &new, 2po&e and set the coc&s a5crow% 2wear by those horsemen, by those women ,omple0ion and form prove superhuman, 'hat pale, long5visaged company 'hat air in immortality ,ompleteness of their passions won; 8ow they ride the wintry dawn Where Ben Bulben sets the scene% 3ereBs the gist of what they mean% "" 7any times man lives and dies Between his two eternities, 'hat of race and that of soul, And ancient !reland &new it all% Whether man die in his bed #r the rifle &noc&s him dead, A brief parting from those dear !s the worst man has to fear%

'hough grave5diggersB toil is long, 2harp their spades, their muscles strong% 'hey but thrust their buried men Bac& in the human mind again% """ You that 7itchelBs prayer have heard, >2end war in our time, # $ordC? -now that when all words are said And a man is fighting mad, 2omething drops from eyes long blind, 3e completes his partial mind, For an instant stands at ease, $aughs aloud, his heart at peace% .ven the wisest man grows tense With some sort of violence Before he can accomplish fate, -now his wor& or choose his mate% "# 6oet and sculptor, do the wor&, 8or let the modish painter shir& What his great forefathers did% Bring the soul of man to (od, 7a&e him fill the cradles right% 7easurement began our might4 Forms a star& .gyptian thought, Forms that gentler 6hidias wrought% 7ichael Angelo left a proof #n the 2istine ,hapel roof, Where but half5awa&ened Adam ,an disturb globe5trotting 7adam 'ill her bowels are in heat, 6roof that thereBs a purpose set Before the secret wor&ing mind4 6rofane perfection of man&ind% Duattrocento put in paint #n bac&grounds for a (od or 2aint (ardens where a soulBs at ease; Where everything that meets the eye, Flowers and grass and cloudless s&y, esemble forms that are or seem When sleepers wa&e and yet still dream%

And when itBs vanished still declare, With only bed and bedstead there, 'hat heavens had opened% (yres run on; When that greater dream had gone ,alvert and Wilson, Bla&e and ,laude, 6repared a rest for the people of (od, 6almerBs phrase, but after that ,onfusion fell upon our thought% # !rish poets, learn your trade, 2ing whatever is well made, 2corn the sort now growing up All out of shape from toe to top, 'heir unremembering hearts and heads Base5born products of base beds% 2ing the peasantry, and then 3ard5riding country gentlemen, 'he holiness of mon&s, and after 6orter5drin&ersB randy laughter; 2ing the lords and ladies gay 'hat were beaten into the clay 'hrough seven heroic centuries; ,ast your mind on other days 'hat we in coming days may be 2till the indomitable !rishry% #" +nder bare Ben BulbenBs head !n *rumcliff churchyard Yeats is laid% An ancestor was rector there $ong years ago, a church stands near, By the road an ancient cross% 8o marble, no conventional phrase; #n limestone @uarried near the spot By his command these words are cut4 Cast( echa) a cold eye On life, on death. Horseman, pass by!

(cha una irada fr$a sobre la vida, sobre la 4aballero, pasateF

uerte,

G:5(& !H!4( #?( 9H3#3:C# H% #?( :3#C&# %a ily of the iddle class, on his o>n eIperience, he has changed so e things. &teven ?ero. +riting fro de point of vie> of a child. Cnnocent, >ho is settling his feet oriented. +hy Goyce does it in this particular fashion. &teven couldn=t eet a nice girl and get arried. 3ather, you see Goyce, ;< years old and just >anted to live. ?is father loo@ed hi through a glass. ?is other better s ell than his father. 4onsonants, proble >ith that. #aller than you. Ct see s that &teven is told that they >ere older, and 4harles older than Dante and..(Iplain that concept. Dante, have been very uch for ho e rule. &tephen, over the later in the chapter tal@ed about ho> s art Dantes >as. &tephen quite young2a little girl and little bot playing, &tephen is e barrased because he is supposed to arry her - (ileen8. ?e is hidden under the table, e barrased. +ithout transition, you ove fro scene to scene. ?e >ent to boarding school. +hy (nglish and Crish send their 0 or J year old @ids to boarding school* (ducation the younger children >as not specially i portant. &tephen, Kildare. ?o> lonely &tephen >as. #he educational syste . 9lay cric@et. &ports really i portant. &tephie, bullied. +ould you eIchange your boI for a chestnut, e orization. ?is o>n little poetry to re ind things. &tephan D)dalus- artist, >aI >ings..8 9eter ,rueghel2 La ca$da de Lcaro2 %all of Ccarus. &tephen >as stoned to death. Kids in school2 they say Dedalus, >hat @ind of a na e is that. Dedalus2 funny na e. %ight >ith people that try to na e do>n. #hese @ids are really ean. Learning so ething there. &tephen getting sic@, enfer ery, hearing, &tephen >as 6 >hen he >as in the enfer ery feeling pretty sic@. 5other >ho isn=t fro that far a>ay. %ifty iles a>ay. 4hist as, &tephen adult enough to eat >ith the adul. #hey live in ,ray, a suburb of Dublin, &tephen. #here is a fault in the dinner table bet>een Dante, the papers. #he Crish 4atholic

4hurch, not defend 9arnell any ore. Dedalus. +hat >as in the pac@age. 9rison. (Icellent republican. Loyal to the church, >ho @ill 9arnell. :ttached houses. %a ily lost ost of their inheritance. Aoing to 4or@, father=s ban@rupcy. Dedalus fa ily had to ade quite a bit. Leave and follo> the oving, pretty dreadful. 5uch near Dublin2 in a house >ith little lions. : nice house. 5ove into a rundo>n section of Dublin. Aenre2 dra a2 play. &hallo>2 +innie Merloc2 a urderer >ho co suicide. +innie2 >hat she did. +innie the urderer. its

1<, 0< years later than ,yron=s death he >asn=t considered as a great author, he >as in oral. #he boy of 4onglo>es2 it=s your father a agistrate* #hey as@ed hi these @inds of questions, >hen so eone has as@ed as@ed hi , do you @iss your other before going to bed* ?e ay be or a &isi or a bad son. #here is not a right question to that. ?e prefered ,yron than #ennyson. +e are corc@onians, he just a fool of Dublin. #hey are diss isive. ?e >ants his son to see his good qualities, he >as a flirt and handso e in 4or@. ,ut he >as in ban@rupcy. ?e >ent to prositutes that couldn=t even na e hi properly. ,urdeles. 3ligious person, he regrets >hat he has done. :t the end of part CC, gro>ing up. &tephen visiting a prostitute. ( braced religion after>ards - strange change8. ,aby2tal, then putting things together in his ind. Nndergo a lot of teasing and eaness. &care you to going to confession. !ou hear that hell is so terrible, you @no> ho> you al>ays hear. ?eaven, hell, purgatory. ?e is telling the really terrible things, and then he tell the D y dearE and it is quite shoc@ing. ,esides, the ser on is only prepared to scare the boys and a@e the going bac@ to church.

Bo> he decided to beco e very very stright. Bot really in touch >ith other people. Aloo y >ay of life. 5ore people helping us trying to a@e a decision. Display or sho> too uch interested. &igned up >hen you >ere very young. Cf C just get a little further, &tephen really doesn=t @no>, choices >e a@e, dis iss beco ing a jesuit, #he 3ev. &tephen 9.&.L2 his na e if he >ould beco e a jesuit. (Itre ely superficial, but ho> you picture >hat you >ant to do before doing it* : gru py, angry2 he doesn=t li@e that. #he 3ector2 detain2 >ord >ith different eaning. ?e is >al@ing alone, he sees a >o an in the beach

and discribes her in the ost interesting >ayO the D bird girlE, an i aginary >o an and a bird. 9eacoc@ >o an. &ho>y, gla ourous. +here a dove is a s all peaceful bird. : coin has dropped, he has reservations about beco ing a priest. Cnterested in the philosophy of beauty. ?e feels enor ously relieved. Goyce2 the Crish Pola. Goyce doesn=t sensazionalized the >ay Pola does. Arace2 Dubliners. #hey >ere preaching a very hard line. %or beauty, har ony, radiance, the neIt step for &tephen. ?o> is he going to >or@ in philosophy of creation. &tephen is very anIious of going a step further the church did. 4hapter 1 Q no> he is relieved, @no>ing >hat direction he >ants to ta@e. +e don=t @no> >here is &tephen is going to go. Creland, a pig >ho eats his young. Cn Creland he is not going to get ahead. Aa e, a novel he is >or@ing in behind his bed. ( pire of A, >ere going to hold hi bac@. ?e is going to 9aris. : >hol other t>o years. #he first ti e >e go to a country in their o>n @ne> people fro his country. ?is desire to get a>ay. ?e is uch ore able, so personal. #he picture of his father, Gohn Goyce. ?e loved his country, ireland, to Goyce and &tephen dedalus2 they love Creland, irish language, sports, laguage and fight for and defend Creland. ?o> can C picture y identity*9hilosophy, B(+ secondhand clothes. Mery different ending. #o an enconter, eans, C have to get a>ay fro Creland to >rite about ireland. %orge2 gives so e people proble s. #o create a copy or forge together >ith s ithy. &o ething about carving things out. %ire and everything. 4ounterfitting of reality. ?e loo@s apon hi , boast to a@e, open novel. ?is father >as terrible after being ban@rupt. Goyce, even >hen he had oney, he didn=t do it. #>o @ids and ove around every year. Goyce did that all his life. Goyce goes further. ?e is going off to >rite. #each at the school outside of 3o e.

53&. D:LLH+:!

&he is going to through a party in 4or@ for her friends. 9assing of the tie 2 she >ill get the flo>ers herself. ?ouse@eeper2 she >ant to be sure that the flo>ers are beautiful, she decides to go herself instead of as@ing the service to do it. :lienated, trying to convert (lizabeth to so e brand of christianity. 3ivalry bet>een 5iss Kil an and.. &he is telling her follo> e, another >ay of life, Mirgina +oolf, 4larissa, e pty nest, house >ithout a daughter. (lizabeth, >ants to beco e a veterinarian. :fter +ar +orld C. +o en having careers, not just arrying. ,oo@, toffy, being advertised. Cn a place, in a given ti e you participate in the city. &epti us +arren & ith. &epti us, she is trying to distract hi , if he goes out and plays cric@et, or goes so e>here, he >ould be fine. 9eople >ith ental proble s could go there2 so e opinions2 so e others thin@ just the contrary. 5ale character that >as suffering this things. &epti us2 self2 plot in this novel, 5iss Dallo>ay, only in the end of the novel.&he just feels eItre ely sad. &he >as si thin that her arriage ring >as loose in her finger. 5iss Dallo>ay, she goes ho e >ith all the flo>ers. #hen she decides that she has to fiI a rip in her dress. (ternally young, instead of sitting do>nstairs, he said he >ill go up. : person >ho overloo@s a far . ?e is in the verge of getting arried- 9eter8. &cooped out by the do estication. 9eter, he is been sighted in the par@. Cn to>n, glad to see hi - 4larissa8 >hy did he go to Cndia* %lu ped out or did so ething outrageus. ?e had to leave college. 9eter >or@ing. (ven after he leaves 4larissa, he sees a pretty young girl, >ould you li@e and Cce*#hat=s eIactly >hat 9eter >ould li@e to do. 4larissa >rote to hi , re e ber y party, re e ber y party. 9eter distant fro 4larissa. &he >as loo@ing for>ard to do the party. 9eter didn=t co e. 3ichard >ith a >o an >ho >as blue2stoc@ing. 4an you, as a single an invite to lunch >ithout his >ife* 4larissa thin@s that 5iss ,urton, 3ichard goes >ith her and 4larissa doesn=t thin@ is right.4larissa felt snoped* Cn touch >ith her o>n ortality. &leeping alone, upstairs. ,iographies of people. 4larissa, neither 3ichard or 9eter don=t >orry about her. 4larissa=s part to a@e the party. 2&ay it >ith roses - that he loved her8 he did it. Dallo>ays had a lot of oney. 4larissa involved that the an she is involved >ith can be independent, (velyn, nursing ho e, she >as al>ays >ith one co plaint or another. Bot a succes, cope >ith life, daughter, her

education, a illion ti es no>, Kate 5iddleton2 Le>is 4arroll, they et at college. (lizabeth >as educated by a tutor, even if they started to eIist in that ti e. : lot of na es but a lot of the just only appear once. &he relies on people to @no> >hat is going on. &o e ideas of >hat >e are loo@ing for.

!oung an and >o an @issing and they >eren=t even engaged. #he >orld >as changing. ,eco ing ore fran@, people thought they could say things ore freely. 9sychology or psychiatry. #he t>o of the , one of the decent ans>ers, >orld >ar C. &ee s to have done the right thing. ?e didn=t process (van=s death, he didn=t realize ho> uch her friend eant to hi . &epti us >ent to Ctaly . Ao play cric@et, have a nice ti e. Ruite a bit different. !ou are very very ill. #here is a gap in the teIt. &epti us questions hi . &ee s really sarcastic. 9roportion in all things. Mirgina +oolf, beatiful great car. ?e does very >ell >hen he gives out the advice. ?ad to suffer the death of her other >hen she >as young. #his see s really hard treat ent to receive. &pecialist in any branch of edicine. Cf they can=t cure you you realize that you have to go to another country. #his >as just the beginning of that short of thin@ing. 5ost li@e according to the narrator. ?ad a cost in people=s life. &epti us >as co paring the advices of +ithsbread and ?ol es. 4larissa and &epti us didn=t @no> each other. &epti us co its suicide. ?e said at the party. 4larissaO +hat is this* Death* :t y party* Cnstitunalization. #he ,ell2Gar &ylvia 9lath. 5ental illness.
Septimus Warren Smith, aged about thirty, pale-faced, beak-nosed, wearing brown shoes and a shabby overcoat, with hazel eyes which had that look of apprehension in them which makes complete strangers apprehensive too. The world has raised its whip; where will it descend
Some poeple who donCt change, who remain, meaning o", 'larissa& con$ersation with hersel"& her daughter, Elis9abeth come in, 'larissa. Gote about the party that e$ening. He is staying in a hotel, he was looking "or a >ob, he could ask Richard +alloway. Usher& substitute teacher. -hitbread& materialistic. Richard +alloway yes. Renting at tu:edos. #t seems that he is going to decline the in$itation but he goes. -hat has happened to Sally, Married to an industrialist man, she has "i$e children in Manchester. She is wearing a hat, huge a "eather, she looks like a "lapper. Her old "riends are there, a party could be a way o" resembling your li"e. 'larissa, some o" her dearest "riend still lo$e her. They like her >ust "or being herse".

Iirginia -ool" commited suicide with 34.

Dittle restaurant is still there, e$en i" it looks di""erent to the 04JKs. One en>oyment that Miss Lilman permitted hersel" was sweets. Eli9abeth, miss kilman, religious obligations, lea$ing Miss Lilman. Eli9abeth was worried, was annoyed by Miss Lilman. She may had had enough. Septimus, riding in a double decker bus. E:hilaration, "reedom, whole world with new eyes. Septimus relie"& certain amount o" "reedom by no longer agreeing with Miss Lilaman, Eli9abeth, she does go to the party, she is wearing a pink dress, her "ather is $ery proud o" her. Eli9abeth gi$en the oportunity to choose doesnCt let Mis Lilman e:press those thoughts about her mother. She is no longer able to do that. England in war with germany. -hy did she stay, Gostalgia, sentimentality, sort o" a "antasy. She has a hard time in Engl. +uring the -ar. (ositi$ely what we learn "rom this, Eli9abeth to grow up, "air about things, one o" those things which e$ery daughter goes through. Mo$ing on, another really important scene, at Miss FillmoreCs , playing with a little puppet, she really en>oyed. +r Holmes going to take Septimus to a home,Septimus dellusionary about it. Septimus decides, itCs now or ne$er and he >umps. Enough doctor period. *ut reading it o$er. #n the "ilm he does show up. Iirginia -ool" shows nothing more o" that scene. !mbulance. -hy did she did that, +eath. (eople may go up and down. Ducre9ia& all the support she possibly would. -hatCs the matter with that young men, he doesnCt seem right...(eople o" the street can assemble the situation as it really is. Septimus wasnCt impro$ing, no matter Ducre9ia hoped. She wanted to ha$e children but couldnCt because Septimus was so sick. 'larissa was $ery ill. Richard, care"ul o" her mortality. !ll o" the sudden, time o" the party, she is $ery ner$ous. Miss +alloway& stage "right. She, hersel" begins a"terwads, to mellow, and ha$e a nice time. The party comes to "rame& it must gi$e her well being, party buliding a work o" art about hersel". Richard with Eli9abeth. She has made the right decision. Eli9abeth is "itting in a little bit. 'larissa re>oins things& (eter and Sally talking away. #t was originally a collection o" short stories. #n terms o" endings, the nearest, most pro:imate think. Ms. +alloway looked strong and lo$ely. Open ending no$el, we will wonder what she will do when sheCll wake up tomorrow. -hat the +alloways would be doing the ne:t day. Time o" renewal. To ha$e te opportunity to restate that is $ery important. E$en though, 'larissa is middle&aged, li"e is going )uite well "or her. 'on"idence in hersel", also showed e$en people she was not particulary "ond o" did their best. Gothing else to say about Septimus and Ri9ia. Ri9ia would go back to Milan or "ind some nice "eller in london,Miss +alloway is learning that she has to accept that as well. (arties that really are artistic. Make a party truly beauti"ul, roses e$ery table, cakes. She wants to make people around her happy, Dondon is another source o" >oy. (arties are "or her a celebration o" li"e.

Thomas Stearns Eliot OM (September 26, 1888 January 4, 1965) was a publisher, playwright, literary and social critic and "arguably the most important English-language poet of the 20th century."[3] Although he was born an American, he moved to the United Kingdom in 1914 (at age 25) and was naturalised as a British subject in 1927 at age 39. The poem that made his name, The Love Song of J. Alfred Prufrockstarted in 1910 and published in Chicago in 1915is seen as a masterpiece of the Modernist movement, and was followed by some of the best-known poems in the English language, including Gerontion (1920), The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1945).[4] He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the

Nobel Prize in Literature in 1948.[5]

T.S Eliot8 The waste land. !ppreciation o" christianity& basis "or ashes -ednesday. *road prespecti$e in his career. Eliot is the author o" 'ats, o$er the years, Family reunion that he takes some ob>ect interested.

The /o)e Son of 0* Alfred Prufro"%

SCio credesse che mia risposta "osse ! persona che mai tornasse al mondo, Euesta "iamma staria sen9a piu scosse. Ma perciocche giammai di )uesto "ondo Gon torno $i$o alcun, sCiCodo il $ero, Sen9a tema dCin"amia ti rispondo. Det us go then, you and #, -hen the e$ening is spread out against the sky Dike a patient etheri9ed upon a table Det us go, through certain hal"&deserted streets, The muttering retreats O" restless nights in one&night cheap hotels !nd sawdust restaurants with oyster&shells8 Streets that "ollow like a tedious argument O" insidious intent To lead you to an o$erwhelming )uestion ... Oh, do not ask, A-hat is it,A Det us go and make our $isit. #n the room the women come and go Talking o" Michelangelo. The yellow "og that rubs its back upon the window&panes, The yellow smoke that rubs its mu99le on the window&panes,

Dicked its tongue into the corners o" the e$ening, Dingered upon the pools that stand in drains, Det "all upon its back the soot that "alls "rom chimneys, Slipped by the terrace, made a sudden leap, !nd seeing that it was a so"t October night, 'urled once about the house, and "ell asleep. !nd indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window&panes There will be time, there will be time To prepare a "ace to meet the "aces that you meet There will be time to murder and create, !nd time "or all the works and days o" hands That li"t and drop a )uestion on your plate Time "or you and time "or me, !nd time yet "or a hundred indecisions, !nd "or a hundred $isions and re$isions, *e"ore the taking o" a toast and tea. #n the room the women come and go Talking o" Michelangelo. !nd indeed there will be time To wonder, A+o # dare,A and, A+o # dare,A Time to turn back and descend the stair, -ith a bald spot in the middle o" my hairM /They will say8 AHow his hair is growing thin7A6 My morning coat, my collar mounting "irmly to the chin, My necktie rich and modest, but asserted by a simple pinM /They will say8 A*ut how his arms and legs are thin7A6 +o # dare +isturb the uni$erse, #n a minute there is time For decisions and re$isions which a minute will re$erse. For # ha$e known them all already, known them all8 Ha$e known the e$enings, mornings, a"ternoons, # ha$e measured out my li"e with co""ee spoons

# know the $oices dying with a dying "all *eneath the music "rom a "arther room. So how should # presume, !nd # ha$e known the eyes already, known them allM The eyes that "i: you in a "ormulated phrase, !nd when # am "ormulated, sprawling on a pin, -hen # am pinned and wriggling on the wall, Then how should # begin To spit out all the butt&ends o" my days and ways, !nd how should # presume, !nd # ha$e known the arms already, known them allM !rms that are braceleted and white and bare /*ut in the lamplight, downed with light brown hair76 #s it per"ume "rom a dress That makes me so digress, !rms that lie along a table, or wrap about a shawl. !nd should # then presume, !nd how should # begin, N N N N

Shall # say, # ha$e gone at dusk through narrow streets !nd watched the smoke that rises "rom the pipes O" lonely men in shirt&slee$es, leaning out o" windows, ... # should ha$e been a pair o" ragged claws Scuttling across the "loors o" silent seas. N N N N

!nd the a"ternoon, the e$ening, sleeps so peace"ully7 Smoothed by long "ingers, !sleep ... tired ... or it malingers, Stretched on the "loor, here beside you and me. Should #, a"ter tea and cakes and ices, Ha$e the strength to "orce the moment to its crisis, *ut though # ha$e wept and "asted, wept and prayed, Though # ha$e seen my head /grown slightly bald6 brought in upon a

platter, # am no prophetMand hereCs no great matter # ha$e seen the moment o" my greatness "licker, !nd # ha$e seen the eternal Footman hold my coat, and snicker, !nd in short, # was a"raid. !nd would it ha$e been worth it, a"ter all, !"ter the cups, the marmalade, the tea, !mong the porcelain, among some talk o" you and me, -ould it ha$e been worth while, To ha$e bitten o"" the matter with a smile, To ha$e s)uee9ed the uni$erse into a ball To roll it toward some o$erwhelming )uestion, To say8 A# am Da9arus, come "rom the dead, 'ome back to tell you all, # shall tell you allAM #" one, settling a pillow by her head, Should say8 AThat is not what # meant at all That is not it, at all.A !nd would it ha$e been worth it, a"ter all, -ould it ha$e been worth while, !"ter the sunsets and the dooryards and the sprinkled streets, !"ter the no$els, a"ter the teacups, a"ter the skirts that trail along the "loorM !nd this, and so much more,M #t is impossible to say >ust what # mean7 *ut as i" a magic lantern threw the ner$es in patterns on a screen8 -ould it ha$e been worth while #" one, settling a pillow or throwing o"" a shawl, !nd turning toward the window, should say8 AThat is not it at all, That is not what # meant, at all.A N N N N

Go7 # am not (rince Hamlet, nor was meant to be !m an attendant lord, one that will do To swell a progress, start a scene or two, !d$ise the prince no doubt, an easy tool,

+e"erential, glad to be o" use, (olitic, cautious, and meticulous Full o" high sentence, but a bit obtuse !t times, indeed, almost ridiculousM !lmost, at times, the Fool. # grow old ... # grow old ... # shall wear the bottoms o" my trousers rolled. Shall # part my hair behind, +o # dare to eat a peach, # shall wear white "lannel trousers, and walk upon the beach. # ha$e heard the mermaids singing, each to each. # do not think that they will sing to me. # ha$e seen them riding seaward on the wa$es 'ombing the white hair o" the wa$es blown back -hen the wind blows the water white and black. -e ha$e lingered in the chambers o" the sea *y sea&girls wreathed with seaweed red and brown Till human $oices wake us, and we drown.
The language o" "ashion, he doesnCt do anything to keep his hair youth"ul. !nti&heroic. ;o on and say. #Cm an not, nor was meant to be. His li"e, much more limited. His role in li"e& reduced. Respectabilty. Do$e is dead, his heart is >ust missing "rom this. He doesnCt look like in$iting someone to his li"e. O# ha$e measured out my li"e with co""ee spoons P he would like to ha$e en>oyed and not limiting himsel" so much. He is not particularly attracted to women. He doesnCt seem to be seeking someone new. He says he know them all. Real intimacy. -ould you like an ice,& in Miss +alloway. He certainly seems to be J5. He delight on women. (eter always willing "or something new as (ru"rock isnCt. !ndrew Mar$ell& talk about resol$ing things with a girl& up into a ball, O Da9arusP #" someone come back "rom the death.

!nd indeed there will be time To wonder, A+o # dare,A and, A+o # dare,A Time to turn back and descend the stair, -ith a bald spot in the middle o" my hairM /They will say8 AHow his hair is growing thin7A6 My morning coat, my collar mounting "irmly to the chin, My necktie rich and modest, but asserted by a simple pinM /They will say8 A*ut how his arms and legs are thin7A6 +o # dare

+isturb the uni$erse, #n a minute there is time For decisions and re$isions which a minute will re$erse.

Go7 # am not (rince Hamlet, nor was meant to be !m an attendant lord, one that will do To swell a progress, start a scene or two, !d$ise the prince no doubt, an easy tool, +e"erential, glad to be o" use, (olitic, cautious, and meticulous Full o" high sentence, but a bit obtuse !t times, indeed, almost ridiculousM !lmost, at times, the Fool. # grow old ... # grow old ... # shall wear the bottoms o" my trousers rolled. Shall # part my hair behind, +o # dare to eat a peach, # shall wear white "lannel trousers, and walk upon the beach. # ha$e heard the mermaids singing, each to each. # do not think that they will sing to me. # ha$e seen them riding seaward on the wa$es 'ombing the white hair o" the wa$es blown back -hen the wind blows the water white and black. -e ha$e lingered in the chambers o" the sea *y sea&girls wreathed with seaweed red and brown Till human $oices wake us, and we drown.

He would like to ha$e more time to things be"ore being awake again. Upset by (ru"ock. Rhyming, sound and intonation o" british speech. Understatement. Fri$olous images. 'ondition o" this man. #rreconciliable.

#" you look to the past, you can organi9e your thoughts and history. The boundary between the 04 th century and JKth century di""erent, T. S Eliot -aste Dand. The poem changed the world, publication 04JJ, raised the "lag o" modernism. !l the writers seem to say, the search "or the Holy ;rial. *ook, the golden bow. #dea, really, although the numbers o" religions $arious. -inter solstice, summerCs solstice. 'elebration o" the winter solstice. The key to all mythologies. Medie$al myth trans"igured by Eliot. -aste land& collage& / M!R. LERR says this6. The burial o" the death. ! game o" chess. From *uddhaCs religion, death by water. ;etting to #ndia, understanding. !bsolutely hilarious. *urial o" the dead. ! booth in an arcade. The wisest woman in Europe. !nreal "ity, #$% &T '()S*+T ,-TT). &/ &T+s 0(*'(*, 1).0&*, '!10&*... !nder the brown fog of a winter dawn, - crowd flowed over 0ondon 1ridge, so many, & had not thought death had undone so many. Sighs, short and infre2uent, were e3haled, -nd each man fi3ed his eyes before his feet. /lowed up the hill and down 4ing William Street, To where Saint ,ary Woolnoth kept the hours With a dead sound on the final stroke of nine. There & saw one & knew, and stopped him, crying 5Stetson6- &t+s a hat. 7 Stetson8 59ou who were with me in the ships at ,ylae6 :$ the first punic war. 5That corpse you planted last year in your garden, 5;as it begun to sprout Will it bloom this year - very gothic. 5(r has the sudden frost disturbed its bed "onfused, 5(h keep the 'og far hence, that+s friend to men, 5(r with his nails he+ll dig it up again6 59ou6 hypocrite lecteur6 - mon semblable, - mon frere65 *audelaire& les Fleurs du Mal. Di"e o" the underground& really horrible, in$itation with a kind o" distress, "lowering corps. ! game o" 'hess& teh bar tender& hurry upP itCs time7 Sad story. Her children& british kings and )ueens. !lbert& the husband o" )ueen Iictoria& the name o" the child seems to mock him, who died so young. This man is coming home, his wi"e is physically bad, you ha$e to take a time where you can ha$e time. Got in a barCs closing time. 'haotic. TEST 'ompare and contrast the idea o" li$ing on sur"aces in -ilde and -ool". Fri$oulous, getting "lowers, mending a dress, upset about things like that. +iscusse Ste$ieCs role in The Secret !gent. (er"ect innocent, ! scapegoat, Iictim, Or what, +iscusse the imagery o" nature in .eats and Eliot, myth. +oes .eats stand alone in his lo$e o" nature and countryside,

+iscuss $arious themes o" the generations we read.

The land by a curse, animals cannot reproduce.

The *urial and the +eath. Eliot& "riend o" the "amily, to the Tarot cards& he was $ery struck by them. (eople are death in li"e. Eliot, death in li"e. ! lot o" the commentary seems to suggest, come through death to come to li"e. 'leopatra. -ho ga$e e$erything up "or lo$e. Story& closing time in a pub, the only worst place "or telling a story like that is an ele$ator. .ou ha$e to look smart, outcome o" -orld -ar #, not the "eeling o" peace. Terrible break between the people who wanted to keep the "ires burning. T.S Eliot& -ork in this poem. Eliot, mother and brother and sister. Under tremendous pressure. Somehow to keep the lids in the di""iculties. #nterested, Tom and *e"& Get"li:, hormonal irregularity, T.S Eliot was in some ways. Tom a lot in his hands with his wi"e, he had been in an institution that he >ust wanted to stay there. That is a sad commentary in what Eliot was going through. #t was dedicated to E9ra (ound. Eliot paying (ound a great compliment. The third is all about lost. The "isher king lying down and weeping the ideal state that water could ha$e. His role has diminished. Tiresias is the union o" all the people on earth, a $iew o" old time. Sailsman, out o" lost. The secretary >ust in$ol$ed with him as a matter o" loss. He, the young man, carbon killer. Eliot puts him in a position o" burning as the chapter suggests

&<. ')-T; 19 W-T).

=hlebas the =hoenician, a fortnight dead, /orgot the cry of gulls, and the deep sea swell -nd the profit and loss. - current under sea =icked his bones in whispers. -s he rose and fell ;e passed the stages of his age and youth )ntering the whirlpool. >entile or ?ew ( you who turn the wheel and look to windward, @A$ "onsider =hlebas, who was once handsome and tall as you.

He had lost his identity, when you consider the wheel o" "ortune. #n the last section o" the poem, you do see a trio, christ a"ter resurrecting. Three people walking together, it seems that they are on a trip to "ind out what is going on spiritually. The >ust see towers breaking, all the cities, dri99ling, !le:andria, unreal, $ery interesting here. Someone is calling to someone in Tower *ridge. Eliot& all wars are one war, !le:andria, Dondon Iiena, all teh cities are the same. 'ities and the time "rame collapse. There is no one there. Dine 5&13 to 5&4K o" the poem.

&n this decayed hole among the mountains &n the faint moonlight, the grass is singing (ver the tumbled graves, about the chapel There is the empty chapel, only the wind+s home. &t has no windows, and the door swings, @B$ 'ry bones can harm no one. (nly a cock stood on the rooftree "o co rico co co rico &n a flash of lightning. Then a damp gust 1ringing rain "hapel- nobody+s home. *o more cristianity. The empty chapel. 0ondon bridges falling down, the tower is abolished, the method of the poem, these fragments against my ruins. Secretary, whom it happens to be. The present seems to be a time that people can be scarcely brought slower. This is an introduction- eclectic, fragmentary- *ature is dead and broken, mankind can+t look to a tree, because it will fall off because is death. ;istory and myth into such a form.

;(W-.'S )*' )lm tree- house as deeply rooted, strike the notion of being a family state. The beginning of the relationship. Wilco3-es idealistic germans. <erge of gentility, he reads .uskin, he wants to found out the stones of <enice. ;e is a clerk, an umbrella, /oster shows him. (utrageous woman named ?ackie. )ats and smokes cigarettes. <isiting with them, start of the novel, ;elen Schegell visiting the Wilco3 family in ;owards )nd. ;er brother has a fever. /oster goes out of his way symbollically. Schegell sons, "harlie. -llergic to nature. /ever- not see the beauty of nature, not take that beauty into consideration. ;elen goes alone. ;elen finds ,iss Wilco3 remote. =aul Wilco3- she falls in love with him. ;e hasn+t got a peny and he is going back to *igeria to work in a mission. &mpulsive. ;e drives very fast. ,iss Wilco3- she speaks from a distance where she sees the mistaken views of things. Telegrams and anger. Strike a note. =anic and emptyness. /oreign markets, without working outside the home and continue your lifestyle. (lder "harles Wilco3 thinks that moeny will provide you what you want. She and young "harles smoke. ,ale Wilco3es- run your world and women to be intuitive, Shegells women who demand to have their own voice. =assage to &ndia- film as well. "ontrast between the Schegell sisters and Wilco3 man. ,iss Wilco3- gets really sick. "hapter pretty well closed. She dies. What+s interesting ,iss Wilco3, & would like ,argaret Wilco3 to inherit howard+s end. Who should indeed inherit the property &t is not the only house they owned. 0ots of properties in town and country. Schellegels, Wilco3- i will get a new umbrella. /oster is working on reader be aware of how the class society is. /oster had pioneered the interest people put in cars as a trade that was worth investigating. ;e

shows the Wilco3 to be bad drivers. CDB$, opening of the first lines of the underground in 0ondon. "ontinue to take ta3es. Wonderful distinction between theme and plots. The 2ueen died of grief. &nside out, something in the air. - habit of mind rather than for the way they looked, described in great detail. She Eust didn+t think that that was neccesary. /oster, trying to set up a number of distinctions. "lass distinctions- border of gentility. ;e died, bookcase falling. /oster- very delicate humor- women characters- mad at ,argaret.

Howards End Summary

How It All Goes Down We begin by meeting two families, one rather odd, and one super conventional. The odd family is the Schllegels, three orphaned siblings Margaret, Helen, and Tibby of an academic, quir y, and liberal bac ground. The ordinary family is the Wilco!es, represented by Mr. and Mrs. Wilco! and their three children, "harles, #aul, and $vie. The Wilco!es are wealthy and industrious, while the Schlegels inherited their money and spend most of their time tal ing about art, politics, and literature. The two families encounter each other at various points, but things get aw ward after Helen and #aul embarrassingly fall in and out of love over the span of %& hours. However, Margaret and Mrs. Wilco! stri e up an odd friendship, despite the aw wardness between the two clans, and before Mrs. Wilco! dies rather suddenly, she changes her will and leaves her beloved family home, Howards $nd, to Margaret. This upsets the Wilco!es, who don't thin that Margaret, a stranger, has any right to the house, so they ignore the change and go about their business.Meanwhile, the Schlegels befriend a lower(middle class young man, )eonard *ast, who has ambitions of intellectualism, but is held bac by his lac of funds +and by his trashy wife, ,ac y-. )eonard provides a ind of tragic counterpoint to the life of effortless bohemianism of the Schlegels, and to the businessli e, bustling Wilco!es. instead, he's always yearning for more than is available to him. Through a rather complicated turn of events, )eonard loses his /ob as a cler , and falls into even worse circumstances. this was caused by advice that Henry Wilco! gave the Schlegels, which they passed on to )eonard. Helen sees their young friend's fall as Henry's fault.0gainst all odds, Henry and Margaret become friends and then more than friends. They get married, despite the differences between the two of them. 1t later scandalously emerges that )eonard's lowbrow wife, ,ac y, used to be Henry's mistress, and that he abandoned her abroad +contributing to her bottom(of(the(barrel social position-, and Henry and Margaret have to wor through the issues produced by this revelation. Helen and Margaret drift further and further apart as Margaret is absorbed into the Wilco! clan. Their relationship hits a low when Helen tries to get Henry to financially help the *asts +he refuses because of his former relationship with ,ac y-.This is where things go a little cra2y. Helen, caught up in her sympathy for )eonard, has an affair with him, the result of which is pregnancy. She flees to 3ermany,

trying to hide her pregnancy from her family and friends, but ultimately is forced to return to $ngland. There, Henry and Margaret ambush her at Howards $nd, where they discover the truth. Margaret forces Henry to forgive her sister for her scandalous affair, since she herself has forgiven him his +with ,ac y-. "harles, Henry's hot(headed son, accidentally ills )eonard with a sword +yep, you heard that right- for bringing shame upon the family, and is sentenced to prison for manslaughter.1t seems that everything is falling apart for the Wilco!es and Schlegels but, in fact, it's the beginning of a new life for them. Henry finally begins to sympathi2e and truly connect with other people, as Margaret's been encouraging him to do all along. 1n the end, the two of them, along with Helen and her baby, form a ind of new, unified family, out of the fragments of the old ones. We end up at Howards $nd, which Henry bequeaths to Margaret and her nephew, as a beautiful summer arrives, along with a tentative new hope for $ngland.
Schllegels and Wilco3es. "harles Wilco3 in the head of a company. ;e would be the chief officer of a company, a great deal of confidence in his own abilities. Tree and a house, ,iss Wilco3 wanted it to be for ,argaret, they both find the beautiful tree. .epresentation of ,iss Wilco3. ;er husband and children don+t even seen the point in following their mother last wish. &t wasn+t the only house the family owned. &t wasn+t their only piece of conutyside property. ;elen e3tremely impulsive in the beginning of the novel, ,argaret fulfill better the idea of a family that was interested in culture, and do things in good taste. Wilco3es thought that they have to have everything. ,argaret shows her respect to ;enry, finantial guidance, they have to move out from the property they had always lived in. They fall in love very suddenly. The Wilco3 girls. The property has been given to a single woman, but to a single woman with a child. The pattern broken, different from -usten, )yre, CBth century )nglish literaure. - modern Eustice is done. 0eonard- pennyless, killed, trying to show up and support ;elen. Social change in all of his novel. ;e wrote about how society was changing rather than about characters. &* this novels, marriages in the middle, a sign of modernity because they used to be in the end. The wedding of ,argaret and ;enry is nearly not recorded. Margaret Schlegel - The chief protagonist of the novel, a 29- year-old woman of mixed nglish and German heritage living in !ondon in the early years of the twentieth cent"ry# $ister to Helen and Ti%%y& later Henry 'ilcox(s wife# Imaginative and committed to )personal relations,) *argaret is the chief representative of the $chlegel family, which represents the idealistic, intellect"al aspect of the nglish "pper classes# Henry Wilcox - The patriarch of the 'ilcox family, a prominent %"sinessman in !ondon# *arried to +"th 'ilcox and later to *argaret# $t"ffy, conventional, and cha"vinistic, Henry is the chief representative of the 'ilcox family, which represents the pragmatic, materialistic aspect of the nglish "pper classes# Helen Schlegel - *argaret(s sister, a passionate, flighty girl of 2, who lives for art, literat"re, and )h"man relations#) !i-e *argaret, Helen is a representative of the idealistic, c"lt"red $chlegel family, which represents the intellect"al aspect of the "pper classes# ."t Helen, who is prettier than *argaret, is also m"ch less gro"nded and far more prone to excessive and dramatic %ehavior# Leonard Bast - A poor ins"rance cler- on the very %ottom r"ng of the middle

class--he has money for food, clothing, and a place to live, %"t not m"ch else, and is constantly %eset with financial worries# *arried to /ac-y# !eonard represents the aspirations of the lower classes& he is o%sessed with selfimprovement and reads constantly, hoping to lift himself "p# ."t he is never a%le to transform his meager ed"cation into an improved standard of living# !ate in the novel, !eonard has a sex"al enco"nter with Helen $chlegel, which res"lts in his %ecoming the father of Helen(s child# !eonard is -illed %y 0harles 'ilcox near the end of the novel# Ruth Wilcox - Henry(s wife, who dies in the first half of the novel# Gentle, selfless, loving, and strangely omniscient, *rs# 'ilcox seems to represent the past of ngland# Howards nd %elongs to her, and she attempts to leave it to *argaret when she dies, an attempt which is %loc-ed %y Henry and 0harles# Charles Wilcox - The oldest 'ilcox son, a self-centered, aggressive, moralistic yo"ng man who represents the negative aspects of the 'ilcoxes( materialistic pragmatism# *arried to Dolly# 0harles is sentenced to three years in prison at the end of the novel for the -illing of !eonard .ast# Theobald ("Tibby") Schlegel - Ti%%y is *argaret and Helen(s yo"nger %rother, a peevish ,1-year-old, who grows "p and attends 2xford# Ti%%y is prone to acting o"t the flaws of the $chlegel family--their excessive aestheticism, ind"lgence in l"x"ry, and indolence--%"t shows real improvement %y the end of the novel# Aunt uley Mund - The sister of *argaret, Helen, and Ti%%y(s deceased mother# Tho"gh goodhearted, she is a meddling, conventional woman# !olly Wilcox - 0harles( wife, a scatter%rained3 st"pid4, insec"re girl who often ca"ses tro"%le %y revealing secrets# "aul Wilcox - The yo"ngest 'ilcox son, who travels to 5igeria to ma-e his fort"ne in the .ritish colony# .efore he leaves, he has a %rief romance with Helen $chlegel# ac#y Bast - !eonard(s garish wife, a former prostit"te who had an affair with Henry 'ilcox in 0ypr"s# $%ie Wilcox - The yo"ngest 'ilcox da"ghter, a self-centered, pet"lant yo"ng girl who, at ,6, marries 7ercy 0ahill# Miss A%ery - An elderly spinster living in Hilton, who ta-es care of Howards nd when it is "nocc"pied# A childhood friend of *rs# 'ilcox, *iss Avery ta-es the li%erty of "npac-ing the $chlegels( %elongings while they are stored at Howards nd# "ercy Cahill - Dolly(s "ncle, who marries vie 'ilcox# &rieda Mosebach - The $chlegels( German co"sin, with whom Helen vacations on the 0ontinent#

!eonard- against the %oo-case- !eonard pro%a%ly a heart attac- or something terri%le happened# $ym%olic of his desire to -now english literat"re, that was indeed "nfort"nate# Henry feels that it was an accident# 5othing was going to happen# ."t that was not what the police tho"ght, nor the co"rt# 0harles fa"lt# 5ot- Three years in prison- Henry 'ilcox- a whole new perspective on life- he wants to retire and live in the co"ntry with *argaret# 'ho gets to live in Howards nd8 Helen and the little %a%y will live there too# He agrees with *argaret that after he is dead the property to *argaret, when she will die, it will pass to Helen(s son# 7ossi%ility that almost anyone co"ld %e chosen to

inherit property in ngland# That was pre-war english, 9oster wanted to show how radically life was changing#

'I!9+ D 2' 5 :nder the infl"ence of $igfried $asoon, the poet that we ;"st st"died on T"esday# 0o"ntry life# 2ne enormo"s change# The title ironic# G"nfire is not m"sical# $omehow the contrast, only shrill demented < plane taps# 9lowers, the tenderness of patient minds# 5ot only going to sleep# 2wen is really lamenting not %eing a%le to see ngland# 5o ceremony to the death of the dead soldiers# Apologia 7ro 7oemate *eo- 0ardenal 5ewman- showing forth what his life was# Different meanings in nglish# 2wen dealing with lots of contrasts# 9ellowships, he thin-s, %ind "p, stonge the %leeding# In some way helps him, the %attlefield was not exactly made for romantic relationship %"t in -eeping faith with other people# *ore than is "s"al- reaching o"t of each other, o"t of the sense of deprivation and loss, helpf"lness# xcept yo" share with them, highway of the shell# $o m"ch in terms of what a man thin-s of the world, changed %y the "se of g"nfire, weapon# The new normal# In that spirit, still -eep o"r sense of %ea"ty and love# Heroic to die in %attle, anonymo"s# 'ar 'orld I, ferocio"s, terri%le, somehow the worst# 'orld 'ar I, 2wen dealing with- what they were signing "p for# 'e all -now- $eptim"s# He went to war, a lady on a green dress# 5ew principles of psychology# To"rni="et# It didn(t c"re him# nglighten doctors of the period# In a fictional form# 7eople li-e $igfried $asoon# !ots of others# 'e can see how shoc-ing this is and was# The t"rning points in the 2>th cent"ry# 'orld 'ar I, "pstairs, downstairs, even if yo"r family was rich yo" wo"ld %e fighting with poor people# 5o classes# The whole class system came to really loo-ed o"t with desinterest# Go off and do something %y themselves# +eady to face more challenges# 'orld 'ar I, a great thing, in the long r"n, or in the short, women vote sooner, woman had to feel men(s position# Doing other things# 'atch the sheep# .elonging to man, when war was over a lot of the positions, many ;o%s that women started to do %eca"se the person who did that %efore had died# 7repared women for e="ality# 'orld 'ar I, an enormo"s t"rning point# 0lose, %eca"se of ?irgina 'oolf(s %rothers# In fictional forms# There weren(t so many r"les# A lot of people lied a%o"t it# 'hy wasn(t 7eter8 Too old, he co"ldn(t go %eca"se he was too old, @># He co"ldn(t fight# 0hap ,A# of norton antology# 7eng"in- 'orld 'ar I poetry- few poems %y many people# The !ongman anthology- exactly same poems of the 5orton Anthology# If all the permissions are granted is m"ch easier for an editorB 'e will "se ;"st the same poems# The reason of the similarity- it was finantial#

Decem%er 1th# 7apers d"e in the ,,th, email sooner#

A wee- from today- essay# $igm"nd 9re"d and '#H A"den- h"manity more than genio"s# 7etitition- '#H A"den Harrow the ho"se of the dead# 5ew styles of architect"re, a change of heart# 7eople don(t as- God to help them with their "s"al pro%lems,

!uden%s writing can be easily categori9ed as di""icult or e$en obscure. He uses distorted synta: to e$oke not only uneasy emotions, but an array o" political opinions. O(etitionP is !uden%s own personal prayer "or "ellow mankind and the con"using nature o" the poem captures !uden%s con"used $iew on humanity. He accomplishes this by implementing a $ery harsh and almost brash tone throughout his poetry. #n the "irst three lines, he discusses the nature o" inaction and ;od%s ability to lie down and "orgi$e e$erything. His tone drips with mockery as well as a deep almost unbearable sadness. He seems to be taking it upon himsel" to speak "or humanity and pray that ;od "orgi$es. !uden writes in such a way that his encompassing word use, e:cludes himsel". Ele$ating him to the point that it can be insinuated that he does not need sa$ing possibly due to the "act he has acknowledged e$eryone%s sins Q bypassing his own. His tone undergoes a multitude o" trans"ormations throughout the poem, ranging "rom sorrow to a rather lo"ty mind&set. !uden%s need to hea$ily relate to the human e:perience, may in "act, set him apart and e$en distance him "rom understanding. !uden%s word choice is what is particularly uni)ue about his poetry. He o"ten utili9es words, which ha$e a double meaning or are not o"ten applied to aspects o" the human e:perience. This adds an element o" irony to his poems, which a shed o" light to the o$erly dark and dreary tone. O(etitionP seems to only perk up around the idea o" change, not e$en at "orgi$eness. This word choice also plays into the $ery synta: o" his poetry. Rather than "low easily, his poems seem $ery >umbled. They lea$e the reader with a sort o" stop&and&go reading e:perience than a swi"t and lyrical approach. This could mirror !uden%s discontented $iew o" reality and his inability to be satis"ied with humanity. His word choice is e:tremely direct and does not implement many metaphysical techni)ues, but rather straight"orward asserti$eness. This aspect o" his poetry plays easily into the modernist aesthetics and the emphasis modernism demands on the ability to stay direct and not di$ulge into a world o" metaphors. This

harsh $iew o" reality could e$en transcend OrealP but head straight "or a pessimistic e:aggeration. !uden%s ability to omit any "orm o" sentimentali9ed li"e to the point o" pure and rash reality lets his poetry accentuate his political $iews and assert !uden%s opinions o" the human condition, or the down"alls o" the human condition. The rugged reality o" !uden%s $iew o" li"e lea$es the reader )uestioning the authenticity o" their li"e. O(etitionP does not in"late li"e but rather condemns it to the point o" needed change.

!"lla%y !ove poem, tolerant, ordinary swoon, rather than the %est experience of my whole entire life# $omething very satisfactory# *idnight# .iCanCy"m# $tro-e of midnight past# They can find comptent and happiness witho"t %eing the %est experience ever# !ove- a %ridge to get yo" thro"gh hard times#

ullaby" is no ordinary love poem. We've got hermits, glaciers, madmen, tarot cards... you name it. *ut at its core, it's about love. )ove between two men +W.H. 0uden was gay, so we can pretty safely assume that his love poems are addressed to men- who are far from perfect. 1t ma es sense that 0uden would tac le this topic. his favorite sub/ects for poetry were normal stuff, li e daily life, pop culture, politics, and, of course human relationships. 0uden is one of the most influential poets of the twentieth century. 4eah, yeah, we've heard it all before, but this one's special. $ven though he was influenced by a lot of the groundbrea ing poets of the 56%7s +li e T.S. $liot and $2ra #ound-, he was different from these guys. Most of the modernist poets wrote in free verse, meaning their poems didn't rhyme or have a set meter or form. 0uden's poems did /ust the opposite. Many, if not most, of his poems are written with formal rhyme schemes and meters. He tac led every form from the limeric to the hai u to the villanelle. He's really nown as a master of forms. The 8orm(Master was also very involved in politics, and wrote a number of poems about the Spanish "ivil War. While poetry critics may be most interested in 0uden's political wor s, his most popular poems are about you guessed it love. The best part of 0uden's poetry, including 9)ullaby,9 is that he loves the entire human being, warts and all. This probably e!plains his popularity. Who doesn't have a few secret warts, after all:

Cancin de cuna
$l estr;pito del traba/o queda mitigado, otro d<a ha llegado a su ocaso y se ha cernido el manto de la oscuridad. =#a2> =#a2> ?esprovee tu retrato de sus ve/aciones y descansa. Tu ronda diaria ha concluido, has sacado la basura, respondido algunas cartas aburridas y pagado una factura a vuelta de correo, todo ello frettolosamente. 0hora tienes permiso para yacer, desnudo, aovillado cual quisquilla, recostado en la cama, y disfrutar de su acogedor microclima@ canta, Grandulln, canta arrorr. )os antiguos griegos se equivocaban@ Aarciso es un ve/ete, domado por el tiempo, liberado al fin de la lu/uria de otros cuerpos, racional y reconciliado. ?urante muchos aBos envidiaste al hirsuto, el tipo machote. 4a no@ ahora acaricias tu carne casi femenina con enorgullecida satisfacciCn, imaginando que eres inmaculado e independiente, calentito en la madriguera de ti mismo, madonna y bambino: canta, Grandulln, canta arrorr. ?e/a que tus Dltimos pensamientos sean todo

agradecimiento@ ensal2a a tus padres que te dieron un Super $go de fuer2a que te ahorra tantas molestias, llama a amigos y seres queridos por doquier, luego rinde /usto tributo a tu edad, a haber nacido cuando naciste. $n la adolescencia se te permitiC conocer hermosas antiguallas que pronto desaparecer<an de la fa2 de la tierra, locomotoras de caldera venical, motores de balanc<n y ruedas hidrEulicas de admisiCn superior. S<, amor m<o, has tenido suene@ canta, Grandulln, canta arrorr. 0hora a caer en el olvido@ que la mente del vientre se apropie por deba/o del diafragma, del dominio de las Madres, quienes vigilan las #uertas Sagradas, sin cuyas mudas advertencias el yo verbali2ador pronto se conviene en un d;spota despiadado, lascivo, incapa2 de amar, desdeBoso, hambriento de estatus. Si te acecharan los sueBos, no les hagas caso, pues todos ellos, tanto los dulces como los horrendos, Son bromas de dudoso buen gusto, demasiado ins<pidas para hacerles caso. canta, Grandulln, canta arrorr.
Abril de 1972 Versin de Eduardo Iriarte

As I 'al-ed 2"t 2ne vening $I*7! $TA5DA 92+*- %egin from line 9 to 2>, clichEs of love poems, F I(ll love yo"G Till 0hina and Africa meetH# verywhere love and people are imperfect, A"den ref"ses to spea- a%o"t the idealiCed love, which is "nreal# 5o one really cares or notices what is really happening# 2ne has to ta-e resposa%ility if one wants to change anything# Mientras $aseaba una tar!e 7ientras paseaba una tarde, ba=ando por Bristol 2treet, las multitudes en las aceras eran campos de trigo maduro% Y =unto al rEo crecido oE cantar a un enamorado ba=o la vEa del tren4 >.l amor nunca se agota%F Yo siempre te voy a @uerer, hasta @ue ,hina y Gfrica se =unten, y el rEo salte encima de la montaHa y el salmIn cante en la calle% 'e @uerrJ hasta @ue tiendan el ocJano para @ue se se@ue y las siete estrellas gra/nen en el cielo como gansos% F$os aHos correrKn como liebres por@ue en mis bra/os llevo la Flor de los 'iempos y el primer amor del mundo?% 6ero los relo=es de la ciudad empe/aron a /umbar4 >8o de=Jis @ue el 'iempo os engaHe, nunca lo vais a vencerF% .n las madrigueras de la 6esadilla donde la Lusticia estK desnuda, el 'iempo vigila desde la sombra y tose cuando intentKis besaros% ?,on angustias y migraHas la vida se va escurriendo y el 'iempo se sale con la suya maHana igual @ue hoy%?

.n muchos valles verdes se amontona la nieve atro/, el tiempo deshace los bailes y la pirueta del colimbo% ?#h, meted las manos en agua, metedlas hasta las muHecas, mirad en la pileta y pensad @ue habJis perdido%? .l glaciar llama desde el armario, el desierto gime en la cama, y la grieta en la ta/a de tJ lleva tierra a los muertos% ?AllE el mendigo rifa billetes de banco y el gigante hechi/a a 6ulgarcito, y el pKlido muchacho ruge de furia y Lill se tumba de espaldas%? #h, mirad en el espe=o, mirad vuestra preocupaciIn; la vida sigue siendo una bendiciIn aun@ue vosotros no sepKis bendecir% ?#h, @uedaos en esa ventana mientras las lKgrimas os @ueman, amarJis a vuestro me/@uino prI=imo con vuestro cora/In me/@uino?% Ya se habEa hecho muy tarde, los enamorados se habEan ido, los relo=es habEan de=ado de /umbar y el rEo profundo seguEa fluyendo Terri%le things that happened %"t people don(t care a%o"t it, why are people not paying attention8 Icar"s8 It is ;"st very moving, to see the plowman, how co"ld yo" ;"st ignore events this siCe8 m

+. ?. :uden

Mientras paseaba una tarde S Mientras paseaba una tarde caminando Bristol Street abajo, las
multitudes que cubran el pavimento eran campos de trigo listos para la cosecha, y abajo, junto al crecido ro, escuch cantar a un enamorado bajo una arcada de la va frrea: l amor no tiene fin, te

amar, querida, te amar hasta que !hina y Africa se unan, y el ro salte sobre la monta"a y los salmones canten por las calles, te amar hasta que el ocano est plegado y colgado a secar y las siete estrellas corran gra#nando como gansos por el cielo, los a"os correr$n como conejos, porque en mis bra#os sostengo la flor de las eras y el primer amor del mundo% &ero todos los relojes de la ciudad comen#aron a vibrar y a sonar, '(h) *o permit$is que el tiempo os enga"e, el tiempo no puede conquistarse, en las madrigueras de la pesadilla d+nde desnuda est$ la justicia, el tiempo vigila desde las sombras y tose cuando queris besaros, a base de dolores de cabe#a vagamente la vida se nos escurre y el tiempo har$ su capricho ma"ana u hoy, en muchos valles verdes se introduce la terrible nieve, el tiempo rompe las hilvanadas dan#as y el brillante arco iris del somormujo% '(h) ,undid vuestras manos en agua, hundidlas hasta la mu"eca, fijad, fijad la mirada en la palangana y preguntaros qu os habis perdido, el glaciar golpea en el armario, el desierto suspira en la cama y la grieta de la ta#a de t abre un camino hasta la tierra de los muertos -./ '(h) &oneos, poneos junto a la ventana mientras abrasan las l$grimas y comien#an a fluir, amaris a vuestro retorcido vecino con vuestro retorcido cora#+n, era tarde, tarde anochecida, los amantes haban partido, los relojes haban dejado de sonar, y el profundo ro segua fluyendo% S

;. co parison bet>een ; :uden 9oe sO .8 #he death of !eats2 in e ory....

24 In memory of $igm"nd 9re"d I# 'aiting for GodotB $am"el .ec-ett modernism and postmodernism anonimty, fragmentation, -ind of dialog"eB showing he(s headed for postmodernity#

Se$tember 1% 1939
by W% 3% Auden ! sit in one of the dives #n Fifty5second 2treet +ncertain and afraid As the clever hopes e0pire

#f a low dishonest decade4 Waves of anger and fear ,irculate over the bright And dar&ened lands of the earth, #bsessing our private lives; 'he unmentionable odour of death #ffends the 2eptember night% Accurate scholarship can +nearth the whole offence From $uther until now 'hat has driven a culture mad, Find what occurred at $in/, What huge imago made A psychopathic god4 ! and the public &now What all schoolchildren learn, 'hose to whom evil is done *o evil in return% .0iled 'hucydides &new All that a speech can say About *emocracy, And what dictators do, 'he elderly rubbish they tal& 'o an apathetic grave; Analysed all in his boo&, 'he enlightenment driven away, 'he habit5forming pain, 7ismanagement and grief4 We must suffer them all again% !nto this neutral air Where blind s&yscrapers use 'heir full height to proclaim 'he strength of ,ollective 7an, .ach language pours its vain ,ompetitive e0cuse4 But who can live for long !n an euphoric dream; #ut of the mirror they stare, !mperialism"s face And the international wrong% Faces along the bar ,ling to their average day4 'he lights must never go out, 'he music must always play, All the conventions conspire 'o ma&e this fort assume 'he furniture of home; $est we should see where we are, $ost in a haunted wood, ,hildren afraid of the night Who have never been happy or good% 'he windiest militant trash !mportant 6ersons shout !s not so crude as our wish4

What mad 8i=ins&y wrote About *iaghilev !s true of the normal heart; For the error bred in the bone #f each woman and each man ,raves what it cannot have, 8ot universal love But to be loved alone% From the conservative dar& !nto the ethical life 'he dense commuters come, epeating their morning vow; F! will be true to the wife, !"ll concentrate more on my wor&,F And helpless governors wa&e 'o resume their compulsory game4 Who can release them now, Who can reach the deaf, Who can spea& for the dumb) All ! have is a voice 'o undo the folded lie, 'he romantic lie in the brain #f the sensual man5in5the5street And the lie of Authority Whose buildings grope the s&y4 'here is no such thing as the 2tate And no one e0ists alone; 3unger allows no choice 'o the citi/en or the police; We must love one another or die% *efenceless under the night #ur world in stupor lies; Yet, dotted everywhere, !ronic points of light Flash out wherever the Lust .0change their messages4 7ay !, composed li&e them #f .ros and of dust, Beleaguered by the same 8egation and despair, 2how an affirming flame%

Tucydides- Peloponesan war- what was going on in Europe- it was started with the protestant reformation- the raise of Hitler El discurso del !ey- se "e muy bien c#mo empe$aba a llegar la segunda guerra mundial E"eyone alone% see&ing in a bar% a comfortable place where they can feel some piece% where they can feel 'uiet Auden- what we most want is what the !ussian(s wrote about )hiagile"- lo"ed and lo"ed alone *e lo"ed for oursel"es +ife as it is handed out to us ,o one e-ist alone .e must lo"e one another or die /atthew Arnold% had been the first who wrote about the neccesity of lo"e one another0
Ah, love, let us be true

To one another! for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath reall neither !o , nor love, nor li"ht,#or certitude, nor $eace, nor hel$ for $ain% And we are here as on a darklin" $lain Swe$t with confused alarms of stru""le and fli"ht, &here i"norant armies clash b ni"ht'(

The unknown citi9en

(To !"#$ % &$'This %arble %on(mentIs Erected by the !tate) 3e was found by the Bureau of 2tatistics to be #ne against whom there was no official complaint, And all the reports on his conduct agree 'hat, in the modern sense of an old5fashioned word, he was a saint, For in everything he did he served the (reater ,ommunity% .0cept for the War till the day he retired 3e wor&ed in a factory and never got fired, But satisfied his employers, Fudge 7otors !nc% Yet he wasn"t a scab or odd in his views, For his +nion reports that he paid his dues, (#ur report on his +nion shows it was sound) And our 2ocial 6sychology wor&ers found 'hat he was popular with his mates and li&ed a drin&% 'he 6ress are convinced that he bought a paper every day And that his reactions to advertisements were normal in every way% 6olicies ta&en out in his name prove that he was fully insured, And his 3ealth5card shows he was once in hospital but left it cured% Both 6roducers esearch and 3igh5(rade $iving declare 3e was fully sensible to the advantages of the !nstalment 6lan And had everything necessary to the 7odern 7an, A phonograph, a radio, a car and a frigidaire% #ur researchers into 6ublic #pinion are content 'hat he held the proper opinions for the time of year; When there was peace, he was for peace4 when there was war, he went% 3e was married and added five children to the population, Which our .ugenist says was the right number for a parent of his generation% And our teachers report that he never interfered with their

education% Was he free) Was he happy) 'he @uestion is absurd4 3ad anything been wrong, we should certainly have heard%

'i$ilian and military& the best way to get togheter is with a drink in their hand. Many "riends& a community o" su""ering. Gational Health in England, i" they donCt ha$e their care. Dea$e cured& well seen. Things you had to ha$e in a modern house. Had anything been wrong, -e cetainly would ha$e heard. E:istence, too many Echoes o" last week. Sacred ground, Dots o" other )uestions& !uden is $ery ironic.

.eats dies in France, his dying made him more accesible to his admirers. In Memory o W* +* 1eats by -. H. !uden I He disappeared in the dead o" winter8 The brooks were "ro9en, the airports almost deserted, !nd snow dis"igured the public statues The mercury sank in the mouth o" the dying day. -hat instruments we ha$e agree The day o" his death was a dark cold day.

Far "rom his illness The wol$es ran on through the e$ergreen "orests, The peasant ri$er was untempted by the "ashionable )uays *y mourning tongues The death o" the poet was kept "rom his poems.

*ut "or him it was his last a"ternoon as himsel", !n a"ternoon o" nurses and rumours The pro$inces o" his body re$olted, The s)uares o" his mind were empty, Silence in$aded the suburbs,

The current o" his "eeling "ailed he became his admirers.

Gow he is scattered among a hundred cities !nd wholly gi$en o$er to un"amiliar a""ections, To "ind his happiness in another kind o" wood !nd be punished under a "oreign code o" conscience. The words o" a dead man !re modi"ied in the guts o" the li$ing.

*ut in the importance and noise o" to&morrow -hen the brokers are roaring like beasts on the "loor o" the *ourse, !nd the poor ha$e the su""erings to which they are "airly accustomed, !nd each in the cell o" himsel" is almost con$inced o" his "reedom, ! "ew thousand will think o" this day !s one thinks o" a day when one did something slightly unusual.

-hat instruments we ha$e agree The day o" his death was a dark cold day. II .ou were silly like us your gi"t sur$i$ed it all8 The parish o" rich women, physical decay, .oursel". Mad #reland hurt you into poetry. Gow #reland has her madness and her weather still, For poetry makes nothing happen8 it sur$i$es #n the $alley o" its making where e:ecuti$es -ould ne$er want to tamper, "lows on south From ranches o" isolation and the busy grie"s, Raw towns that we belie$e and die in it sur$i$es, ! way o" happening, a mouth. (OETR. ;#IES 'OGSOD!T#OG *UT +OESGCT 'H!G;E TH#G;S. III Earth, recei$e an honoured guest8 -illiam .eats is laid to rest. Det the #rish $essel lie Emptied o" its poetry.

#n the nightmare o" the dark !ll the dogs o" Europe bark, !nd the li$ing nations wait, Each se)uestered in its hate #ntellectual disgrace Stares "rom e$ery human "ace, !nd the seas o" pity lie Docked and "ro9en in each eye. Follow, poet, "ollow right To the bottom o" the night, -ith your unconstraining $oice Still persuade us to re>oice -ith the "arming o" a $erse Make a $ineyard o" the curse, Sing o" human unsuccess #n a rapture o" distress #n the deserts o" the heart Det the healing "ountain start, #n the prison o" his days Teach the "ree man how to praise. Three $ery di"". Ierse "orms in the poem, instead o" seeking unity in one. Horse&man, pass by. .eats message in his gra$e&stone. #rish $esel lie& i" you are a good writer, time will pass and youCll be remembered. This is )uite a tribute, e$en i" the part that he was silly like us. He was "orgi$en by his politics because he was a great poet. #rish "ighting& a terrible beauty is born. !"ter --0 and the Russian Re$.& went through di""erent political shi"ts, and last o" them was "ascism. He should be "orgi$en "or that because he wanted the show the "ree man how to praise. Too emotionally crippled or a human being& mining Q 'li"ord& studies mining in 'ambridge, to do with that, completely di""erent outlook, this no$el, 'li""ord has inherited "rom his "ather. The -ar has changed all o" that "or 'li""ord, he inherited the state, out o" the middle o" nowhere in the islands. +ark and grey. Got a place we know too much about. 'li""ord& sent away to -orld -ar #. !n absurd thing, they two will be dra"ted and sent across. *ody is mangled and parali9ed. +read"ul reminder o" the war. *attle"ield& more or less reco$ers, best o" this aw"ul in>ury. Something lack in the marriage. 'onnie& non con$entional aculture way, socialism, she and her sister be"ore -orld -ar #. These young girls& time to mo$e on. Their parents raise them to be "ree. -hy wasnCt Dawrence in --#, Tuberculosis.

Lady Chatterley's Lover is a no$el by +. H. Dawrence, "irst published in 04J1. The "irst edition was printed pri$ately in Florence, #taly, with assistance "rom (ino Orioli an une:purgated edition could not be published openly in the United Lingdom until 042K. /! pri$ate edition was issued by #nky StephensenCs Mandrake (ress in 04J4.6R0S The book soon became notorious "or its story o" the physical relationship between a working&class man and an upper&class woman, its e:plicit descriptions o" se:, and its use o" then&unprintable words.

The story is said to ha$e originated "rom e$ents in DawrenceCs own unhappy domestic li"e, and he took inspiration "or the settings o" the book "rom Eastwood, Gottinghamshire, where he grew up. !ccording to some critics, the "ling o" Dady Ottoline Morrell with ATigerA, a young stonemason who came to car$e plinths "or her garden statues, also in"luenced the story.RJS Dawrence at one time considered calling the no$el Tenderness and made signi"icant alterations to the te:t and story in the process o" its composition. #t has been published in three di""erent $ersions. ReditS (lot introduction The story concerns a young married woman, 'onstance /Dady 'hatterley6, whose upper&class husband, 'li""ord 'hatterley, has been paraly9ed due to a war in>ury. #n addition to 'li""ordCs physical limitations, his emotional neglect o" 'onstance "orces distance between the couple. Her se:ual "rustration leads her into an a""air with the gamekeeper, Oli$er Mellors. The class di""erence between the couple highlights a ma>or moti" o" the no$el which is the un"air dominance o" intellectuals o$er the working class. The no$el is about 'onstanceCs realisation that she cannot li$e with the mind alone she must also be ali$e physically. This realisation stems "rom a heightened se:ual e:perience 'onstance has only "elt with Mellors, suggesting that lo$e can only happen with the element o" the body, not the mind. ReditS Themes #n )ad *hatterle +s )over, Dawrence comes "ull circle to argue once again "or indi$idual regeneration, which can be "ound only through the relationship between man and woman /and, he asserts sometimes, man and man6. Do$e and personal relationships are the threads that bind this no$el together. Dawrence e:plores a wide range o" di""erent types o" relationships. The reader sees the brutal, bullying relationship between Mellors and his wi"e *ertha, who punishes him by pre$enting his pleasure. There is Tommy +ukes, who has no relationship because he cannot "ind a woman whom he respects intellectually and, at the same time, "inds desirable. There is also the per$erse, maternal relationship that ultimately de$elops between 'li""ord and Mrs. *olton, his caring nurse, a"ter 'onnie has le"t. ReditS Mind and &ody Richard Hoggart argues that the main sub>ect o" )ad *hatterle +s )over is not the se:ual passages that were the sub>ect o" such debate but the search "or integrity and wholeness.R5S Ley to this integrity is cohesion between the mind and the body "or Abody without mind is brutish mind without body...is a running away "rom our double being.AR5S )ad *hatterle +s )over "ocuses on the incoherence o" li$ing a li"e that is Aall mindA, which Dawrence saw as particularly true among the young members o" the aristocratic classes, as in his description o" 'onstanceCs and her sister HildaCs Atentati$e lo$e&a""airsA in their youth8 So they had gi$en the gi"t o" themsel$es, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing8 the lo$e&making and conne:ion were only sort o" primiti$e re$ersion and a bit o" an anti&clima:.RTS The contrast between mind and body can be seen in the dissatis"action each has with their pre$ious relationships8 'onstanceCs lack o" intimacy with her husband who is Aall mindA and MellorsCs choice to li$e apart "rom his wi"e because o" her AbrutishA se:ual nature.R3S These dissatis"actions lead them into a relationship that builds $ery slowly and is based upon tenderness, physical passion, and mutual respect. !s the relationship between Dady 'hatterley and Mellors de$elops, they learn more about the interrelation o" the mind and the body she learns that se: is more than a shame"ul and disappointing act, and he learns about the spiritual challenges that come "rom physical lo$e.

Geuro&psychoanalyst Mark *lechner identi"ies the ADady 'hatterley phenomenonA in which the same se:ual act can a""ect people in di""erent ways at di""erent times, depending on their sub>ecti$ity.R2S He bases it on the passage in which Dady 'hatterley "eels disengaged "rom Mellors and thinks disparagingly about the se: act8 A!nd this time the sharp ecstasy o" her own passion did not o$ercome her she lay with hands inert on his stri$ing body, and do what she might, her spirit seemed to look on "rom the top o" her head, and the butting o" his haunches seemed ridiculous to her, and the sort o" an:iety o" his penis to come to its little e$acuating crisis seemed "arcical. .es, this was lo$e, this ridiculous bouncing o" the buttocks, and the wilting o" the poor insigni"icant, moist little penis.ARUS Shortly therea"ter, they make lo$e again, and this time, she e:periences enormous physical and emotional in$ol$ement8 A!nd it seemed she was like the sea, nothing but dark wa$es rising and hea$ing, hea$ing with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass.AR1S ReditS Class system and so"ial "onfli"t *esides the e$ident se:ual content o" the book, )ad *hatterle ,s )over also presents some $iews on the *ritish social conte:t o" the early JKth century. For e:ample, 'onstance%s social insecurity, arising "rom being brought up in an upper middle class background, in contrast with Sir 'li""ord%s social sel"&assurance, becomes more e$ident in passages such as8 'li""ord 'hatterley was more upper&class than 'onnie. 'onnie was well&to&do intelligentsia, but he was aristocracy. Got the big sort, but still it. His "ather was a baronet, and his mother had been a $iscount%s daughter.R4S There are also signs o" dissatis"action and resentment o" the Te$ershall coal pit%s workers, the colliers, against 'li""ord, who owned the mines. *y the time 'li""ord and 'onnie had mo$ed to -ragby Hall, 'li""ordCs "atherCs estate in Gottinghamshire, the coal industry in England seemed to be in decline, although the coal pit was still a big part in the li"e o" the neighbouring town o" Te$ershall. Re"erences to the concepts o" anarchism, socialism, communism, and capitalism permeate the book. Union strikes were also a constant preoccupation in -ragby Hall. !n argument between 'li""ord and 'onnie goes8 V%Oh good7, said 'onnie. O#" only there aren%t more strikes7PO-hat would be the use o" their striking again7 Merely ruin the industry, what%s le"t o" it and surely the owls are beginning to see it7PO(erhaps they don%t mind ruining the industry,P said 'onnie.O!h, don%t talk like a woman7 The industry "ills their bellies, e$en i" it can%t keep their pockets )uite so "lush,P he said, using turns o" speech that oddly had a twang o" Mrs. *olton.R0KS The most ob$ious social contrast in the plot, howe$er, is that o" the a""air o" an aristocratic woman /'onnie6 with a working class man /Mellors6. Mark Schorer, an !merican writer and literary critic, considers a "amiliar construction in +.H. DawrenceCs works the "orbidden lo$e o" a woman o" relati$ely superior social situation who is drawn to an AoutsiderA /a man o" lower social rank or a "oreigner6, in which the woman either resists her impulse or yields to it.R00S Schorer belie$es the two possibilities were embodied, respecti$ely, in the situation into which Dawrence was born, and that into which Dawrence married, there"ore becoming a "a$orite topic in his work. Familiar, too, to much o" DawrenceCs work is the nearby presence o" coal mining. -hilst it has a more direct role in Sons and )overs and in &omen in )ove, it casts its in"luence o$er much o" )ad *hatterle +s )over too. DawrenceCs own "ather was a miner, and the author was intimately "amiliar with the region o" the +erbyWGotts coal"ield, ha$ing been born at Eastwood, Gottingham. The signi"icance o" coal in the background to DawrenceCs no$els cannot be o$erstressed, when considering his treatment o" social class issues. #n$ol$ed with hard, dangerous and health& threatening employment, the unionised and sel"&supporting pit&$illage communities in *ritain ha$e been home to more per$asi$e class barriers than has been the case in other industries /"or an e:ample, see chapter two o" The Road to -igan (ier by ;eorge Orwell.6 They were also centers o"

widespread non&con"ormist /Gon&!nglican (rotestant6 religion, which tended to hold especially proscripti$e $iews on matters such as adultery. ReditS 'ontro$ersy !n edition o" )ad *hatterle +s )over was published in *ritain in 045J by Martin Secker re$iewing it in The -bserver, ;erald ;ould noted that Apassages are necessarily omitted to which the author undoubtedly attached supreme psychological importance & importance so great, that he was willing to "ace oblo)uy and misunderstanding and censorship because o" themA.R0JS !n authorised abridgment o" )ad *hatterle +s )over that was hea$ily censored was published in !merica by !l"red !. Lnop", #nc. in 04J1. This edition was subse)uently reissued in paperback in !merica by Signet *ooks in 04T2. ReditS 'onnie& Dady 'hatterley& it will be ok "or her to ha$e a lo$er, the gamekeeper, dialectic, ser$ed with a comission in the army, capable o" talking standard english, but when he talk "rom the heart he talks his dialect. 'onnie and Mellors& "riend& how can 'onnie can obtain a key, to sit and rela:, i" he is in a storm. Dawrence& 'onny& an outdoors person, countryside is beauti"ul. JKth century& gameskeeper. +e$otion to his dogs. JKth century, he seems to be a head gardener. -oman broad out to help out here. Mellors, broken marriage. #ndicati$e o" modernism. *reaks like this. -ild woman, romance o" 'onnie and Mellors. & Mellors& his desire o" enter the two worlds $ery interesting. !doption is considers, 'onnie& mo$ing o$er Mellors, what she had to o""er, money doesnCt seem to be in$ol$ed at all. *reaking down ideals o" class. 'onnie 'hatterlay& 'li""ordCs "riends. -e wonder i" she is >ust wasting away, sense& Daurence knew Q phonetic plane& a lot o" drinking going on, 04JKs aware o", Dady 'hatterley& as a way o" li"e, ha$e anything to replace that with. Her skin, her neck was yellow, they think that she needs more to amuse her. She should get a"ter 'li""ord. That would be "un. -e could all reali9e, and there is really some porge to induce 'li""ord to bring 'onnie to Dondon. Iery modern o" JKth century standard. *eing eared, show something o" what 'onnie was e:pecting. Macellis. -oman are all like her. #t really seems sel"& de"eating that thatCs all they come up with. Status in money is concerned& at least is something& they do ha$e a talk& a child that was hal" theirs. #t would be hard to get someone to ha$e a baby. Taking no interest in such a little one. 'li""ord& that argument doesnCt go that "ar as we would like it to. Had children with the pro"essorCs husband& sticking point in their marriage. 'ute little girl& sel"&assured and a bit bossy. +ead animals& particularly repellent& Mellors& a $ery lo$ing "ather. Hilda does ha$e any children, Hilda& in a car& dri$ing& a lot about control, the wheels stiring, $er strongly, Helen, how do you li$e your li"e, !n:ious to get out o" there. Go one would e$er suggest i" he didnCt come a"ter. ! woman, her husband with a butcherCs li"e. They would ne$er be openly disgust sub>ect. 'onsistent way& showing Mellors& $el$etine out"it in the JKth century. #" you are doing outside work& She""ield or around that area o" England. Iel$et& #ntentional, Iel$et& Melllors, had to do, their way up to become an o""icer. !lso capable o" standard English. Flu& rans into him. Iel$et out"itt& appeals to you& 'onnie& certainly is one o" the "irst times where you see together. Mss. *olton& >ust the kind o" person to look a"ter 'li""ord. Miss *oltonCs husband& because o" the nature o" the accident. *ut she has to go and collect 5K schielling and canCt start a business with such a slow "low o" money, but she is a nurse and looks a"ter 'li""ord. She was good at handling him. 'ut his hair, sha$e him, and she knew how to do it pro"essionally. 'li""ord& she treats him as he were an archiduke. He regain the di""erence between her and 'onnie. She learns how to type and gets his writing. 'onnie doesnCt think about it. !nticipation o" going o" with her sister. 'li""ord and his nurse. Male&"emale. Husband& wi"e relationship. Gurturing "orce& all "ashion husband and wi"e. Sublimated idea& she and her husband& nice little&thatCs worked out. +o you see how attracted 'onnie and Mellors are,Miss *olton& non >udgemental and not asking )uestions.

!nyone else on that, we donCt see Mellors walking with the gun. MellorsC >ob& keep the animals "rom puching. Lony& completely gi$en o$er to a intellectual li"e. He wasnCt interested in li$ing. ;rowing things, response anyone would ha$e, "rail& she is responding to li"e. 'li""ord& brainy and dettached& they are not e:periencing li"e anymore. ! little boy would inherit HowardCs end, Helen gets to meet Melors, on the way to #taly. -e hear, ha$ing the great time in #taly. Trip to #taly ga$e her time to think, she is not going to the theatres, or to parties at pala99os...'onnie& not humorous& humour can take you going through a lot. Dawrence is more o" a preacher. Surprises& in any case, to the way in whic to both Mellors and 'onnie& need to be together. +elicacy break "rom 'li""ord. ! $ery strong implication& she and Mellors are e:pecting a child. The thought& the two o" them can be )uite com"ortable. ! lot o" rangling that goes on at least set out to make plans and e:pend their li"e together. ! $ery shocking thing to do in the end o" the 04JKs. That sounds so long ago. DawrenceCs li"e so di""erent where he may ha$e to li$e. Struck o" $ery bad luck. +epends on attraction, intuition. (re$ents 'li""ord o" being piti"ul, e$en when he cries, he doesnCt seem to be piti"ul. Sympathetic& piti"ul. Reali9ed that she is with child. 'onnie side o" the "amily when she is in her way to Dondon. ;lad on one hand that she wants what she want. !s being an important& it would always be there& should 'onnie need it or want it. Mellors and 'onnie increasangly con"ident& they donCt want to Q "ree o" the sposes, raise the children& work around the elephant and the house. This wasnCt going to be like that. ;rounds o" the "reedom o" lo$e. She want get 'li""ord to di$orce her& easier said than done. *orrowing trouble. (ossibility. ;etting the di$orce underway. +unken& di$orce proceedings. She would ha$e me and Mellors. Maud gones& Mac*ride& a cra9y salad and their meet. Unlikely a woman like 'onnie would take up with Melors. !ll his intention. Dawrence& an:ious Q no surprise to 'li""ord& de$astating to learn the news, but he already knew. 'onnie& 'li""ord "or #taly, 'ourses in nursing. He learned how to be pro""esional about it. Euestions& 'onnieCs "ather. 'onnie& what is the use o". *ecomes completely inconsecuential. State& while she is getting more in touch with nature. Ma>or trend in the JKth century. 'onnieCs position& against the institution o" marriage. (eople in uni"orms& pretty silly. So, we are really le"t& 'onnie writes to 'li""ord. +esire to be with Mellors. -e also ha$e the impression that 'onie.Euestion o" the marriage, something else to get away "rom the aw"ul boredom o" what has become her marriage. Scandalous& going o"" with Mellors staying at the cottage and thatCs it. Fundamentally as scandalous as Ulises. English countryside, people that were "re)uently alone and isolated. Satis"action that comes "rom Mellors and 'onnie seems to be $ery genuine and complete. Gotion o" how completely society was changed a"ter -ar -orld #. Hoyce& -ar -orld #& # wrote Ulyses. Foster, +alloway deal with li"e a"ter the war. Dady 'hatterlayCs lo$er on his own pedestal. On relationship with all the other books we read.

-aiting "or ;odot& *eckett& ambulance dri$er& e:cusing his duties there. !"ter the ;erman occupation& a city completely de$astated. +eal Q almost impossible&+idi and ;ogo. +o you wait "or someone that you donCt know really well, DetCs go& and then they stay& hope&& "orce& people& slow in taking decisions. +o this, do that. Raise what is asked o" you& idea& she was lucky because she had no other options. !s a way o" people try to li$e their li$es. 'ouple& completely beyond lucky. +idi and ;ogo. The way that Ducky gets to eat& ha$ing the bones "rom chickens that are thrown to him like i" he were a dog. ;ogo& horri"ied by this. Ducky& get the bones be"ore ;ogo took them. -ay beyond the edge. +idi and ;ogo. Dongtime "riends. Their diet. 'arrots, things that pull out o" teh ground& balance diet. Fisiologically& more than disparing& no money, no prospects o" employment. Two acts in the play& in the "irst act we ha$e +idi and ;ogo and a young sheperd, Mr. ;odot& thatCs it& ! classical 3 act play& dynamo and "oreign action& bodies on the stage a character saying8 # understand..Outrageous& coming to see it& the third act like the "irst act with a slight $ariation. #t was like nothing anybody could ha$e seen be"ore& demanded attention& characters& bombs& not

particularly lucky on the stage. High risk penitentiary. E:am here& a week "rom Thursday. (aper& 00th o" december. ;ood sayings&whatCs the use o" losing heart& back in the 4Ks. Two monologues put together. Ducky dealing with another kind o" god. 'unard& a line o" ocean liners. Repetitious& they can be real changes. Ducky and (o99o& two $ery di""erent characters, it seems necessary, all classical motions. How much is remembered, -hat be Ducky capable o", -e see them $ery much changed. +idi and ;ogo they were playing, in"luenced by Samuel *eckett& +idi and ;ogo passing three hats. (o99o and Ducky, return o" these poor souls. More in the dark that e$er be"ore. +idi and ;ogo, who comes by again, ! little boy. # ne$er seen One boy. #nterruption down to a minimum. He will come the ne:t night. They stand in the same place, absurdity& One o" *eckettCs ma>or messages, why people put up with the same conditions, Element o" the human condition& Ducky and (o99o, +idi and ;ogo, there is the problem, how do we $iew time. +oesnCt impro$e, are we going somewhere else, we wonder i" They would be luckier in the center o" the city. The little boy can "ind them. (eople like +idi and ;ogo, no longer seems important to do so. Memories, almost obliterated. Hard, as it has been be"ore. (aris, France,ambulance& took part, a"ter peace was restored, writing "iction.

-hy are +idi and ;ogo waiting "or ;odot, !re they e:pecting spiritual or more material help, Final paper tuesday 00th.