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    Feminist Reading of Thomas Gray's Elegy Written in a Country Churchyard While Thomas Gray's "Elegy Written in a Country Churchyard" overtly deals with the distinction between social class and the opportunity for greatness, the poem also contains a subtle yet strong message against the dominant role of men over women in society. Gray's tone throughout the poem is permeated with regret and a sense of something lost, voicing his opinions clearly against social class prejudice. This emotional tone

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    Approach to Thomas Gray's Elegy (Eulogy) Written in a Country Churchyard Thomas Gray's poem "Elegy Written in a Country Churchyard" is a very structured poem with a set number of lines per stanza, and a specific rhyme scheme throughout the entire poem. The poem focuses on Gray's thoughts while he visits a country churchyard, and ends with an epitaph written on one of the tombstones in the churchyard. The setting of a country churchyard automatically gives way to a small and unknown graveyard, and

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    The Pastoral Ideal in Thomas Gray's Elegy (Eulogy) Written in a Country Churchyard Thomas Gray’s "Elegy Wrote in a Country Churchyard" portrays the pastoral ideal through many different images. The traditional pastoral notion of idyllic life changes in this poem to form a connection with people themselves. The speaker of this poem creates a process by which laborers come to symbolize the perfection of the pastoral through their daily toils. These people come to represent the ideal form of pastoral

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    Dialogical and Formalistic Approach to Elegy (Eulogy) Written in a Country Churchyard Elegy in a Country Courtyard, by Thomas Gray, can be looked at through two different methods. First the Dialogical Approach, which covers the ability of the language of the text to address someone without the consciousness that the exchange of language between the speaker and addressee occurs. (HCAL, 349) The second method is the Formalistic Approach, which allows the reader to look at a literary piece, and

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    Country Churchyard By combining the formal and dialogical approaches, patterns and voices within the text seemingly interplay and overlap to reveal a deeper sense of the author's intentions. While the formalistic analysis focuses on the text and the unfolding themes within, the dialogical analysis recognizes "...the essential indeterminacy of meaning outside of the dialogic - and hence open - relationship between voices" (HCAL 349). When applied to "Elegy Written in a Country Churchyard," these

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    A Comparison of Thomas Gray's Elegy (Eulogy) Written in a Country Churchyard and Bryant's Thanatopsis Thomas Gray and William Cullen Bryant both chose to write about nature and death being intertwined. Since Thomas Gray lived in a time of social injustice, he chose to use death to illustrate the problems inherent in a socially stratified society. William Cullen Bryant, on the other hand, lived in a rapidly expanding young nation that cherished the vast amounts of untouched nature and he used

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    either his first name or his last; doing his best, he called himself "Pip," and the name stuck. Now Pip, a young boy, is an orphan living in his sister's house in the marsh country in the west of England. One evening, Pip sits in the isolated village churchyard, staring at his parents' tombstones. Suddenly, a horrific man, growling, dressed in rags, and with his legs in chains, springs out from behind the gravestones and seizes Pip. This escaped convict questions Pip harshly and demands that Pip bring

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    Elegy by Thomas Gray

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    “Lycidas” and Tennyson’s In Memoriam. It was first published, anonymously, in 1751, under the title "An Elegy wrote in a Country Churchyard." Although believed to be started in 1742 the exact date of composition of the Elegy, apart from the concluding stanzas, cannot be exactly determined. The Elegy was concluded at Stoke Poges in June, 1750, where Gray was buried. The churchyard as described by Gray is typical rather than particular; of the five disputed "originals" Stoke Poges bears the least resemblance

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    Dreyer's Vampyr

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    narrative. The film is filled with memorable images: a skull turning to watch; a shadow walking over to join its subject sitting in repose; point-of-view filming from inside a glass-topped coffin as the lid is nailed down and then carried out to the churchyard for burial. The story goes that the first few days of filming was damaged by a light leak in the camera, but Dreyer liked the effect so much that he had the rest of the film photographed to match. As a result, the image quality on this picture has

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    The Power of Shakespeare's The Winter's Tale

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    and a predominantly comical pastoral section. For this act, tragedy is chosen, "A sad tale's best for winter," (24) and the story begins, "There was a man... dwelt by the churchyard" (28-29). Here is where the play's self-consciousness starts to appear. It is the play which is a sad tale about a man who dwells by the churchyard, namely Leontes, who mourns at the grave of the wife and son he damned. It is also at this moment that the tragedy of the play begins, when Mamillius' tale is interrupted

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