intensively in archetypal imagery (water, air, fire as bases for image patterns, for example), many of her poems could be read as either "dark" wasteland kinds of expressions, or as the reverse, as death-by-water, salvation poems--destruction implied, but also survived, phoenix-like. "Ariel," the title poem of the collection that made Plath known to the reading world so soon after her 1962 suicide, is a similarly ambiguous poem, rich in its image patterns of movement-stasis, light-dark, earth-fire. The
Sylvia's Use of Senses in Ariel "Ariel" possesses power and importance, a certain element of orgasmic stress to the degree to which the horseback ride Plath once took becomes something more—a ride into the abyss of the unknown, a stare back into the eye of the sun, an odyssey to death, a stripping of personality and selfhood, a sort of blatant exposition. To treat "Ariel" as a confessional poem is to suggest that its actual importance lies in the horse- ride taken by its author, in the author's
Shakespeare’s Use of Ovid's Metamorphoses and Virgil's Aeneid as Basis for The Tempest William Shakespeare, as did most writers of his time, took the basis for the stories he wrote from other texts. He would use source poems or mythology in order to write his own works. Romeo and Juliet, for example, can be compared to the tragedy of Pyramus and Thisby. Plays such as Richard III and Julius Caesar are artistic accounts of historic events. The Tempest, however, is commonly perceived as an
have from any sort of civilisation. Vivid imagery is important in The Road, to construct a portrait in the reader's mind that is filled with hopelessness, convincing us to accept that daily survival is the only practical option. He employs effective use of indirect discourse marker, so we feel as if we are in the man’s thought. The reader is provided with such intense descriptions of the bleak landscape to offer a feeling of truly seeing the need for survival both The Man and The Boy have. The reader
Transformations in Shakespeare. New York: Routledge, Chapman & Hall, 1981. Palmer, John. Comic Characters of Shakespeare. London: Macmillan, 1946. Rhoades, Duane. Shakespeare's Defense of Poetry: "A Midsummer Night's Dream" and "The Tempest". Westport, CT: Greenwood Press,1986. Tillyard, E.M.W. Shakespeare's Early Comedies. London: Athlone Press,1965. Wells, Stanley. (Ed.). The Cambridge Companion to Shakespeare. Cambridge, UK: Cambridge University Press, 1986. Wilson, J.
ever lived. The Plays The chronology of Shakespeare’s plays is uncertain, but a reasonable approximation of their order can be inferred from dates of publication, references in contemporary writings, allusions in the plays to contemporary events, thematic relationships, and metrical and stylistic comparisons. His first plays are believed to be the three parts of Henry VI; it is uncertain whether Part I was written before or after Parts II and III. Richard III is related to these plays and is usually
that personal identity is an assumed role, a fabrication. We are all playing characters. When the mad and weather-beaten King Lear declares himself "every inch a king," his exclamation is a melancholy reminder that power and authority are based upon image and ceremony.