W.H. Auden once wrote, “About suffering, they were never wrong… how well they understood its human position.” In W.H Auden’s poem “Musée de Beaux Arts” and Pieter Brueghel's painting Landscape with the Fall of Icarus, both express a theme of apathy in mankind toward the suffering of others through their use of allusions and juxtaposition. The poem uses both juxtaposition and allusions in their comparison of daily life to a significant event. For example Auden states “when the aged are reverently, passionately waiting for the miraculous birth, there always must be children who did not specially want it to happen, skating on a pond at the edge of the wood.” Auden alludes the birth of Christ to juxtapose it to the children who don’t care. This conveys a message of disinterest towards the significant event that is the birth of Christ. To further illustrate, Auden states, “the dreadful martyrdom must run its course. Anyhow in a corner, some untidy spot. Where the dogs go on with their doggy life and the torturer’s horse scratches its innocent behind on a tree.” Auden is referencing the crucifixion of Christ and comparing that to the torturer’s horse and dogs. The horse and dogs both lack any concern to the martyrdom expressing their disregard towards the suffering of the martyrdom. …show more content…
For instance, Brueghel's painting displays a ploughman, shepherd, fisherman, and a ship all looking away from the drowning child. Brueghel juxtaposes the daily life of these people to the significance of a child drowning to convey the message of insensitivity among the people. Brueghel’s painting also alludes the Greek story of Icarus and depicts him drowning after he fell from the sky. Brueghel chose Icarus to be the drowning child because of the story’s popularity, giving the child more meaning than just a random
Ovid, Pieter Brueghel and W. H. Auden have (inadvertently) created a lineage convenient to these demands. In Ovid's myth "Concerning the Fall of Icarus" from Metamorphoses[i], he created a character that has become an icon, several millennia later. Pieter Brueghel adopted the icon in the sixteenth century for his painting Landscape with the Fall of Icarus, which then received famous treatment in the twentieth century by W. H. Auden in his poem "Musée Des Beaux Arts." These three works provide a beautiful, laboratory-quality arena in which to apply various deconstructive ideas: Jacques Derrida's theories of translation and the "dangerous supplement" and Roland Barthes' conception of the myth as language. However, such an inheritance necessarily extends to include the critical work that draws it together.
The fall of Icarus often comes as a cautionary tale about pride and ambition. However, W. H. Auden and William Carlos Williams took inspiration from Brueghel’s The Fall of Icarus in their respective poems Musee des Beaux Arts and Landscape with the Fall of Icarus to tell a new tale. The poems use imagery, form, repetition, and alliteration to convey the apathy of the world in the face of personal tragedy.
This painting was an oil canvas landscape of the sun setting in the horizon of the ocean sea, while the ships were sailing throughout the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman showing the increasing artistic methods that begin to be utilized. Overall Bruegel makes use of the two and three-dimensional techniques to demonstrate the messages he attempts to reveal about changes in life and thought through his work.
W.H. Auden and Pieter Bruegel were both keen observers of the ordinary. In Bruegel’s painting “The Fall of Icarus”, he is able to look past the tragedy of the death of Icarus and focus on the simple scene surrounding the event. Auden’s poem, “Musee des Beaux Arts”, has the same qualities: it glazes over the nature of tragedy, and chooses to instead examine the fact that life goes on while disaster occurs. Arthur F. Kinney highlights this idea of calm in the face of tragedy in a critical essay entitled “Auden, Bruegel, and Musee des Beaux Arts”. Kinney explores Auden’s inspiration for the theme of the poem. The theme, Kinney explains, is not merely generated by “The Fall of Icarus”, but also two other Bruegel pieces. “The Numbering at Bethlehem” portays Joseph and Mary arriving at Bethlehem, while “The Massacre of the Innocents” shows a torturer and his horse in a town square. Both pieces convey the same main theme as “Musee des Beaux Arts”: the complex nature of a substantial event, contrasted with the simplicity of every day life. Each of the paintings reflects on human nature, in the context of apathy amidst tragedy. In his critical article “Auden, Bruegel, and Musee des Beaux Arts” Kinney asserts that “the same statement [is] made by two art forms”, and that Bruegel’s painting and the poem it inspired, “Musee des Beaux Arts”, “juxtapose the unique and the commonplace.”
In both of the poems, "Introduction to Poetry" and "Trouble with Poetry", Collins makes an interesting form of observation of the world he lives in while possibly explaining his daily life or experiences.
He states, “Waves of anger and fear circulate over the bright and darkened lands of the earth” (6-8). Auden’s use of oxymoron and personification serve as a guide here as he begins to allude to the current conflicts that are beginning. More importantly H.W Auden is also attempting to get the reader’s attention, by stating that people are oblivious to the horrific events that are unfolding. He is disillusioned because humanity as a whole, had become so consumed by their personal affairs, that they became oblivious to the great evils that where unfolding. He elaborates “Obsessing our private lives” and “the unmentionable odor of death offends the September night” (9-11). Again Auden’s use of imagery and personification both allow the reader to visualize the problems that surround the globe and additionally support his enragement with
The three sources I have selected are all based on females. They are all of change and transformation. Two of my selections, "The Friday Everything Changed" by Anne Hart, and "Women and World War II " By Dr. Sharon, are about women’s rites of passage. The third choice, "The sun is Burning Gases (Loss of a Good Friend)" by Cathleen McFarland is about a girl growing up.
What goes through your mind when you read? Do you read deliberately, looking for certain aspects, or do you read as a blank slate? When reading, professors expect a deliberateness that will help you to uncover meanings that are not readily apparent. Thomas C. Foster in his book “How to Read Literature Like a Professor” expands on this concept. He endeavors to instruct his readers in the way he believes they should read, in order to get the most out of each book. He concedes that, “When lay readers encounter a fictive text, they focus, as they should, on the story and the characters” but to truly read like a professor you must also divert a portion of your attention on “other elements of the novel” such as “memory… symbol… [And] pattern” (Foster, 15). Foster clarifies
The eponymous poem “Icarus,” by Edward Field, is about a man who at one point achieved true greatness, but inevitably fell back down into the realm of the “merely talented.” This fall leaves him desperately trying to achieve greatness again, but all of his attempts are nothing more than failures that leave him crestfallen. In order to portray this, Edward Field uses the allusion of Icarus, but he adapts the aging myth into a contemporary setting while keeping the meaning of the allusion through the use of literary devices such as point of view, modern diction, and universal imagery. The poem is written in the third person, this allows us to see Icarus’s society as a whole and how Icarus feels in it. The modern diction used helps place
In his preface of the Kokinshū poet Ki no Tsurayaki wrote that poetry conveyed the “true heart” of people. And because poetry declares the true heart of people, poetry in the minds of the poets of the past believed that it also moved the hearts of the gods. It can be seen that in the ancient past that poetry had a great importance to the people of the time or at least to the poets of the past. In this paper I will describe two of some of the most important works in Japanese poetry the anthologies of the Man’yōshū and the Kokinshū. Both equally important as said by some scholars of Japanese literature, and both works contributing greatly to the culture of those who live in the land of the rising sun.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
The interactions with the family shows common struggles and the description of how the dog reacts gives off a sense of hope and safety. Often during times of distress people use religion as a way of coping with problems. The dog in the story is “. . . turned over upon his back, and held his paws in a peculiar manner. At the same time with his ears and his eyes he offered a small prayer to the child”(Crane, "A Dark Brown Dog") this happens several times in the story which usually brings the little boy happiness. The dog also allowed the child to occasionally take out anger on it even when no reason was given. The dog played a safe haven that allowed the boy to believe things will get better shown here: “When misfortune came upon the child, and his troubles overwhelmed him, he would often crawl under the table and lay his small distressed head on the dog 's back. The dog was ever sympathetic”(Crane, "A Dark Brown Dog"). The story eventually ends with the dog 's death by the hands of the child 's father here: “The father of the family paid no attention to these calls of the child, but advanced with glee upon the dog...He rolled over on his back and held his paws in a peculiar manner. At the same time with his eyes and his ears he offered up a small prayer...the father was in a mood for having fun, and it occurred to him that it would be a fine thing to throw the dog out of the window”(Crane, "A Dark Brown Dog"). Even before the dog 's last moments he uses religion as hope that the father will stop his violence but instead the father tossed that hope away once he grabbed the dog to toss it out the
In the poem “A song of Despair” Pablo Neruda chronicles the reminiscence of a love between two characters, with the perspective of the speaker being shown in which the changes in their relationship from once fruitful to a now broken and finished past was shown. From this Neruda attempts to showcase the significance of contrasting imagery to demonstrate the Speaker’s various emotions felt throughout experience. This contrasting imagery specifically develops the reader’s understanding of abandonment, sadness, change, and memory. The significant features Neruda uses to accomplish this include: similes, nautical imagery, floral imagery, and apostrophe.
Images of different different seasons of the year to explain the process of growing older. Images that depict the fading of light in a persons soul transforming into darkness. Images that the reader can perceive as vivid actions. Images that all symbolize one thing, death. In the first quatrain the speaker begins by comparing an old middle age man to a tree with few to none yellow leaves hanging on its branch, and branches moving to the wind of a cold late autumn/early winter day. Image that depicts a lifeless trees and shivering branches, branches that perhaps represent the weak muscles of the speaker. Another image is depicted in the first quatrain containing the same idea. The image of an old church choirs in ruins. In the second quatrain the speaker depicts a moving image of a twilight that can be seen fading on him as the sun sets in the west and soon turns into darkness. Symbolizing the last moments of life the speaker has. In the third quatrain the speaker depicts an image with a similar meaning as the previous, except for one distinctly last thought. The speaker depicts a living image of a bonfire extinguishing and turning into ashes, ashes that may represent his well lived youth. The image gives the idea that ashes represent what once was a beautiful life to the speaker. Overall the images representing the
After the child encounters the dog they being to play with one another. The passage notes; “the dog became more enthusiastic with each moment of the interview, until with his gleeful caperings he threatened to overturn the child. Whereupon the child lifted his hand and struck the dog a blow upon the head.” (Crane) With this we see the first act against the dog. The dog does not turn violent or try to run away. Instead he summits and begs for forgiveness. He rolls onto his back and gives the child a look of prayer. The relationship roles here become clear the child can play god with this dog. Knowing how the dog reacts to this is showing how the dog’s character is to please his master. They play for a while longer, until the child loose interest in the dog’s antics. He began to head home, when he notices the dog is following him. He decides to get a stick and hit him with it. The dog still summits to this act and continues to tag along. When they finally reach ...