As
an aristocratic Roman, Catullus was well aware of the power of money.
Thus he aligns it with love by using its language, "penny,"
"bankrupt," and "assets," to convey his disdain
for financial capital over the charms of his lover (2, 11).
For Sappho love is tied to
pain. As she notes in "Throned in Splendor," it is an "affliction" that
leaves her with a "tortured heart" (15, 18).
The gods in Sappho's poetry are familiar beings,
more human than divine. After hailing her, almost like a cabbie,
Aphrodite "Swiftly" comes and asks the speaker "what beyond all else I
would have befall my / tortured heart" (17-18).
The concubine emasculates her lover, associating him with a "doll" and a "mirror," two objects that evoke the feminine (12,13).
The latent hostility in the speaker of "Mothers" is seen right from the opening of the poem:
You stand against the pillar
of my hut and ask:
Where is your son?
I don't really know. (1-4)
Instead of an answer, the mother rejects the speaker's question . . .
Li Po uses the seasons to signify the passing of
time and the emotion associated with it. Instead of saying months have
gone by, the speaker in "A Poem of Changgan" says "And the first autumn
wind added fallen leaves" (22).
From the beginning of the
text, Bradford sets the Puritans apart from others. He writes that
"many became enlightened by the Word of God and had their ignorance and
sins discovered" (157). Separating the "enlightened" from what seems to
be the unenlightened makes a clear "us v. them" distinction.
The power of O'Connor's "The
Revelation" is derived from its moral tenacity. As the writer Joyce
Carol Oates observes, the story "questions the very foundations of our
assumptions of the ethical life" (52). Since Mrs. Turpin's "foundation"
was based upon a shallow and limited view of religion, she was ripe for
a fall.
Although some critics argue
that surrealism began in 1924 after the publication of the Surrealist
Manifesto by Andre Breton (Kershner 52), Kafka's work, published a
decade earlier, shares many qualities of surrealist art, and should be
considered a precursor to the later movement.
The critics David Boxer and
Cassandra Phillips also note Carver's seeming lack of style. They write
that "what seems to be casual talk, virtually empty of communication,
is really very deliberately and finely wrought" (99). This emphasis on
the craft of his fiction -- it is "deliberately and finely wrought" --
underscores the nature of Carver's oxymoronic talent: he made
conversation seem so natural that it seems to merely record what is
being said.
As Dickens wrote in an essay
published in the same decade as Hard Times, "It is probable that
nothing will ever root out from among the common people an innate love
they have for dramatic entertainment in some form or other" (305-306).
That Lousia and Tom, members of the upper-class, would also find
amusement in the circus shows that the differences between classes --
between people -- is not as well defined as we would think.
F. R. Leavis argues that the
circus performers are symbols of "human spontaneity" (344). As such,
they operate according to emotions rather than from the slow and
measured intellect of Gradgrind.
Mitchell Domhnal notes that
"some critics allege that to read Dickinson in any standard typographic
edition is effectively to read her in translation." This suggests that
the usual method of reading a poem in a textbook isn't the best way to
read Dickinson .
Leypoldt Gunter argues that
there are "two types of Carver stor[ies]," with one being realistic and
the other more experimental (320).