Negative, contemporary architecture has incorporated principles of land art into densely populated urban typology, of which the following two projects serve as significant examples. 3.3.1 CASE STUDY 1: THE HIGHLINE FIGURE 3.3. THE HIGH LINE (Image by NYC Parks) The High Line [see Figure 3.3] is a park built on top of an abandoned train track in the middle of New York City and is one of the most influential works today in regards to integrating landscape and architecture. One must only look at the design
which is repairing a wall that separates his territory and his neighbor's. The wall was deteriorated during the winter, when the cold frost created cracks and gaps in the wall. He uses a nearly infantile imagination to unravel the mystery of the damage that appeared suddenly in spring. While they are tediously laboring to reconstruct the fence, Frost is imploring his neighbor about the use of the wall; his apple trees can be clearly distinguished from his neighbor's pine trees. Yet underneath this
“You Were You” by Sandra Beasley, the narrator is doing exactly that. As the reader goes through the poem line by line, a more detailed and complete picture of the narrator’s dream is created. We are told that the whole dream is taking place at a bar. This bar is a favorite of an important man in the narrator’s life. The man’s attire is acknowledged in addition to the company he was with. His company was a new woman, not the narrator. The narrator is portrayed
At first glance, it appears to be a feminist piece whose sole purpose is to point out the ways in which a particular woman (Aunt Jennifer) is oppressed. However when a closer look is given, there is much more to this piece. When the poem is read line by line, much more meaning can be gleaned from it. “Aunt Jennifer’s Tigers prance across a screen,” the screen would seem to be a tapestry of some kind on which Aunt Jennifer stitched tigers. “Bright topaz denizens,” the tiger Aunt Jennifer stitched are
and Prospero standing on an island, after having just witnessed a shipwreck. Right from the first line we can establish the relationship between Miranda and Prospero, "My dearest father" (line 1.) As the scene commences, we begin to learn a great deal about the two roles. Miranda opens the scene as she questions her father about the huge storm. "you have put the wild waters in this roar" (line 2.) Miranda presumes that her father was capable of the "tempest" and therefore this portrays that
the poet to create a fourteen line sonnet. At first glance, the poem may seem to be random and senseless, and this interpretation could hold true, for Cage was known especially for his chaotic and seemingly mindless music. One thing to keep in mind is that Cage desired to create meaning through musical methods that most people would believe to be meaningless. Edwin Morgan, the author, is similarly doing this by creating meaning through meaninglessness. Based on a line of 14 words, by simply taking
they have come across. In describing Odysseus in Book V, lines 97 to 115 of which lines 105 to 110 are paratactical, Hermes says “you have with you the man who is wretched beyond all the other men of all those who fought around the city of Priam for nine years, and in the tenth they sacked the city and set sail for home, but on the voyage home they offended Athene, who let loose an evil tempest and tall waves against them. Then all the rest of his excellent companions perished, but the wind and the current
each poem. Innocence consists of six, four-line stanzas, where as experience is only three, four-line stanzas. The length of each line is also longer in innocence when compared to experience. When you examine what each of the poems is portraying, this seems like an effective way to draw a distinctive line between the two. Innocence begins in a slightly depressing tone, informing us from a child's first person perspective that he was sold by his family before he had learnt to speak properly
The Road Not Taken In line one, Frost introduces the elements of his primary metaphor, the diverging roads. Lines two to three expresses the speaker's disappointment with his human limitations; he must make a choice. The choice is not easy, since "long I stood" before coming to a decision. Lines four and five examine the path as best the narrator can. However his vision is limited because the path bends and is covered over. These lines indicate that although the speaker would like to acquire more
In the poem “Wake Up, England” by Robert Bridges, the speaker expresses his pro-war attitude and urges his English citizens to support the war by playing with our fears, duty and patriotism. In stanza one and two, the speaker asks the citizens to stand up for England because now is not a time for happiness. This is shown when, ‘Thou peace-maker, fight/Stand, England, for honor.’ (Line 2-3); meaning that the speaker is wanting the citizens of England to fight, either physically in the war or supporting
Rohan Baishya Due 2/13/14 Block 5 Poem Commentary The Schoolboy by William Blake The Schoolboy is a poem which at first, William Blake, the author of the poem, put in his original version of Songs of Innocence but eventually moved it to the other half of his complete work, Songs of Innocence and Experience. His change of mind of the suitable position for The School Boy shows indecision by Blake regarding whether he should divide the works into two divergent sections or keep them together to resemble
Hamlet: The Theme of Having A Clear Conscience The most important line in Hamlet is, "The play's the thing, wherein I'll catch the conscience of the king." (II, ii, 617). In the play, the issue of a clear conscience forms a key motif. When the conscience of the characters appears, it does so as a result of some action; as in the case of the aforementioned line, which follows Hamlet's conversation with the player. This line is of particular significance because it ties action and its effect
was a curfew around the time that this was written and the first line supports this. It was wrung at eight o’clock as a signal for extinguishing fires and marked the end of the day. The first stanza also includes a “plowman”(line 3) who, after a hard day , is on his way home. There is a “solemn stillness”(line6) which also suggests twilight or some time in the evening. Line 15 places the speaker in the poem in a graveyard. “Each in his narrow cell forever laid” describes people resting eternally in
“More happy love! more happy, happy love!” (Keats, line 25). When one reads lines such as this, one cannot help but think that the poet must have been very, very happy, and that, in fact, the tone of the poem is light and filled with joy. However, this is not the case in John Keats’s poem, Ode on a Grecian Urn. At first glance, the tone of the poem seems light and flowery. However, when one looks deeper into the poem to find its underlying meanings, one discovers that the tone of the poem is very
speaker wandering around London. Throughout the poem, Blake repeats a word which he used in one line, in the next line. An example of this can be seen in the first two lines. He uses the word chartered in the first line without any deep meaning to it, but the use of the word charted in the next line shows that the Thames was set up so that somehow people control where it flows. In the next few lines, the speaker talks about all the negative emotions which he sees in the people on the street, "In
thought. The last line of the poem brings a twist on theme that the rest of the poem seems to be following. It speaks of death and of thought, rather than of life and emotion, showing that death is something that should not be ignored in life, and that thought is important even with the domination of feeling. Cummings enhances these themes by using the literary elements of diction and tone, irony, and setting and situation. The poem says that "since feeling is first" (line 1) the one who pays
Differing slightly from the traditional Greek example of a “wedding lyric,” (Britannica) Edmund Spenser’s Epithalamion is Spenser’s way of sharing both his fears and apprehensions, but also his hope and optimism in regards to his own new marriage to Elizabeth Boyle in 1594. The entire poem is written from the bridegroom’s point of view; from the moment he awakens on the wedding day, to the night, after the couple has consummated their nuptials. The poem’s structure and form are extremely complicated
in the last stanza his memories of nature during childhood reveal what he has lost. In this last stanza, Thomas, instead of reveling in the memory of childhood, can conjure only pain. The metamorphosis of the words "green" and "gold" through his poem, ranging in connotation from freshness to decay, helps to convey Thomas’s perceived loss of innocence and insouciance. Thomas initially personifies Time as "Golden" in line 5; time views Thomas as "prince of the apple towns," (line 6) worthy of the riches
An Analysis of Down by the Salley Gardens One of Yeats' poems, Down by the Salley Gardens is a typical story of inexperienced youth in the realm of love. The final two lines hold the key to the theme of the poem: She bid me take life easy, as the grass grows on the weirs; But I was young and foolish, and now am full of tears. The poem is evidently about the relationship between the narrator and the woman with the "little snow-white feet• and the narrator's failure to be able to cope with
Shakespeare’s verse here differs much from his usual, flowery, beautifully poetic, and complicated verse that can be found in plays as Macbeth. The verse in Caesar is simple. This change in Shakespeare’s style has been attributed to his desire to imitate Roman society in this work, as to give the audience or the reader some context through which to receive the play, and to accurately portray his Roman characters. While discussing Shakespeare’s language, his verse should also be studied in greater depth