34 Matching Annotations
  1. Dec 2018
    1. buried two husbands

      This is the first remarried woman in Austen's writing. While it was discussed in Persuasion, it was in much more generic terms, and mostly regarding men. This is an interesting dynamic.

    2. poor Mr. Hollis

      Lady Denham obviously favored her second husband over her first, even though Mr. Hollis left her with an inheritance, which is much more useful than a title.

    3. the sublimities

      The idea of the "sublime" was a major concept in Romanticism (and was also associated with grandeur). It was defined by many essayists as "an expression of great spirit," something that "excites the ideas of pain and spirit." Christian Hirshfield (1742-1792) identified it as "physical grandeur transformed into spiritual grandeur." Source).

    4. snug-looking

      The Romantic literary movement was obsessed with cottages: see William Wordsworth's poem "The Ruined Cottage" as an example.

      http://www.jasna.org/persuasions/on-line/vol28no1/hall.htm

    5. anxious

      This chapter has notably been full of references to health and anxiety. Austen notably presents these key issues of the novel in the first chapter, so this is not unexpected.

    6. poor cousin living with her

      I predict that this character will be relevant to the marriage plot. The idea of a young person in this kind of circumstance reminds us of the Crawfords or Catherine Moreland. Single individuals living with relatives have, in other Austen novels, been very relevant in the marriage plots.

    7. Links to common words/themes throughout the annotations

    8. first dip

      Dipping in the sea was said to have healing properties.

      "Jane Austen’s Sanditon, Doctors, and the Rise of Seabathing" http://jasna.org/publications/persuasions-online/volume-38-no-2/darcy/

  2. Oct 2018
    1. As virtuous men pass mildly away,    And whisper to their souls to go, Whilst some of their sad friends do say    The breath goes now, and some say, No: So let us melt, and make no noise,    No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys    To tell the laity our love. Moving of th' earth brings harms and fears,    Men reckon what it did, and meant; But trepidation of the spheres,    Though greater far, is innocent. Dull sublunary lovers' love    (Whose soul is sense) cannot admit Absence, because it doth remove    Those things which elemented it. But we by a love so much refined,    That our selves know not what it is, Inter-assured of the mind,    Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one,    Though I must go, endure not yet A breach, but an expansion,    Like gold to airy thinness beat. If they be two, they are two so    As stiff twin compasses are two; Thy soul, the fixed foot, makes no show    To move, but doth, if the other do. And though it in the center sit,    Yet when the other far doth roam, It leans and hearkens after it,    And grows erect, as that comes home. Such wilt thou be to me, who must,    Like th' other foot, obliquely run; Thy firmness makes my circle just,    And makes me end where I begun.

      Structure- traditional 9 stanza quatrains Mood- sullen, solemn Tone- encouraging, pensive Theme- true love transcends time and space

  3. Sep 2018
    1. feasceaft

      Scyld's origins as "feasceaft," destitute, contrast with his rich conquests later in life: the "meodosetla" he takes (5) and the "gomban" ("tribute," 11) he receives. The opening lines thus establish reversal of fortune as a theme while showing Scyld as a powerful warrior and successful war leader. Edward B. Irving describes how appropriate "the Scyld proem" (as he calls it, 44) is for the rest of the poem in foreshadowing what Beowulf will do and experience, A Reading of Beowulf, 2nd ed. (Provo, UT: The Chaucer Studio, 1999), 44–5. Francis Leneghan argues for the originality of the Scyld episode in “Reshaping Tradition" and argues that Scyld's status as a foundling in a ship and his climb to rule parallels Moses.

    2. god

      God's role in the reversal of fortune is explicit here: God sends Scyld as a comfort to the Danes for previous bad fortune (perhaps the rule of Heremod, which appears later in the poem, at 1709–24). The poet suggests that God protects even those who are not Christian, for we will see that the Danes are not, and some are even said to offer sacrifices to demons after Grendel's attack (175–88). On reversal of fortune as a structural device in the opening of the poem, see Irving, A Reading of Beowulf, 32.

    3. geong

      Youth is contrasted with age ("ylde") two lines later: men must behave in certain ways in their youth to affect their later fortune. Fortune is not completely outside one's control.

    4. brimes faroðe

      Scyld came on a ship as an infant, and now his body will leave on a ship. The reversal of fortune motif comes full circle in a sense, for he leaves as he came. Yet a little after this passage, we do read of a difference: his arrival with nothing contrasts explicitly with his rich send-off (43–6).

    5. frofre

      "frofre" reappears just seven lines after its first appearance. Scyld had his comfort, but he also was comfort to the people. Again, reversal of fortune appears at the very start of the text.

  4. Aug 2018
  5. course-computational-literary-analysis.netlify.com course-computational-literary-analysis.netlify.com
    1. “But where?” asked Miss Ivors. “Well, we usually go to France or Belgium or perhaps Germany,” said Gabriel awkwardly. “And why do you go to France and Belgium,” said Miss Ivors, “instead of visiting your own land?” “Well,” said Gabriel, “it’s partly to keep in touch with the languages and partly for a change.” “And haven’t you your own language to keep in touch with—Irish?” asked Miss Ivors. “Well,” said Gabriel, “if it comes to that, you know, Irish is not my language.”

      I think The Dead is a summary of Dubliners, because it contains so many themes that occur before The Dead . These sentences are a typical example. Their conversation shows their standard stereotype about nationality, which is similar to the theme of After the Race.

    2. The piano had stopped; Villona must have gone up on deck. It was a terrible game. They stopped just before the end of it to drink for luck. Jimmy understood that the game lay between Routh and Segouin. What excitement! Jimmy was excited too; he would lose, of course. How much had he written away? The men rose to their feet to play the last tricks. talking and gesticulating. Routh won. The cabin shook with the young men’s cheering and the cards were bundled together. They began then to gather in what they had won. Farley and Jimmy were the heaviest losers.

      Although Jammy is happy that he is allowed to play with the rich, he cannot afford their expenses. What's worse, he loses a lot of money through gambling. Jammy feel unconfident and inferior due to his nationality. I guess that the writer wants to reveal the facts that the inequality in the international world will cause inequality between people from different country.

    3. He knew that he would regret in the morning but at present he was glad of the rest, glad of the dark stupor that would cover up his folly. He leaned his elbows on the table and rested his head between his hands, counting the beats of his temples. The cabin door opened and he saw the Hungarian standing in a shaft of grey light:

      Although Jimmy is happy with being is allowed to play with the rich. He cannot afford their expenses. What's worse, he loses a lot of money in gambling. I think the story reflects the real frustration of the lower class. The inequality in international society will cause the inequality among people from different country.

  6. Jul 2018
    1. “long before that you’ll be sitting up there on the stage, looking on, in your nice black velvet. And these pretty arms will have turned into little short fat ones, and you’ll beat time with such a different kind of fan—a black bony one.” The fat man seemed to shudder. “And you’ll smile away like the poor old dears up there, and point to your daughter, and tell the elderly lady next to you how some dreadful man tried to kiss her at the club ball. And your heart will ache, ache”

      A lot of Katherine Mansfield's stories seem to discuss the conflict between maturity and youthfulness of women, whether it's juxtaposing the delight and pain of a girl growing up or the male characters fantasizing women as young girls.

  7. Apr 2018
    1. She had found a jewel down inside herself and she had wanted to walk where people could see her and gleam it around.

      Janie's self-reflection and searching beneath the veneer she had erected and maintained for so many years that has unearthed (recall she viewed herself as earth that absorbed urine and perfume with equal heedlessness) a precious commodity.

  8. Feb 2018
    1. Máire Ní Mhongáin

      As Ciarán Ó Con Cheanainn writes in Leabhar Mór na nAmhrán, the oldest written version of this song dates to 1814, and is found in MS Egerton 117 in the British Library. Oral lore in Conneamara has it that Máire Ní Mhongáin’s three sons joined the British Army, and that Peadar deserted soon after joining, and emigrated to America. It seems probable that their involvement was in the French Revolutionary Wars or the Napoleonic Wars, the major conflicts fought by the British Army in the final decade of the eighteenth century and the first decade of the nineteenth respectively.

      Máire Ní Mhongáin seems to have resonated among Irish emigrant communities in the United States. My evidence for this is that Micheál Ó Gallchobhair of Erris, County Mayo, collected songs from Erris emigrants living in Chicago in the 1930s, over a century after the occasion of ‘Amhrán Mháire Ní Mhongáin’s’ composition. It features in his collection, which you access via the following link: http://www.jstor.org.ucc.idm.oclc.org/stable/20642542?seq=2#page_scan_tab_contents

      The virulent cursing of departed sons by the mother, named Máre, produces the effect of striking g contrasts with John Millington Synge’s bereaves mother, Old Maurya, in Riders to the Sea.

      My Irish Studies blog features an in-depth account of typical features of the caoineadh genre to which Amhrán Mháire Ní Mhongáin belongs. You can access it via the following link: johnwoodssirishstudies.wordpress.com/2018/01/03/carraig-aonair-an-eighteenth-century-west-cork-poem/

    1. Bean an tSeanduine - Sean Nós 2

      ‘Bean an tSeanduine’ features all of the conventions of the malmariée genre we have previously encountered in ‘An Seanduine Cam’. Also, it is a good example of the speaker blaming her parents for her plight, which is another regular feature of this song type.

      As well as being one of the finest examples of the genre, it is perhaps the most well-known and commonly sung, owing in large part to the simplicity and catchiness of its monosyllable end-rhymes.

      As well as Ó Tuama, Meidhbhín Ní Úrdail has written about the common features of the chanson de la malmariée. Her article ‘The Representation of the Feminine: Some evidence from Irish language sources’ in Eighteenth-Century Ireland/Iris an Dá Chultúr is a rich source of information on the topic. In ‘Bean an tSeanduine’, we have a fine example of what Ní Úrdail calls the description of ‘the plight of a beautiful young woman, trapped in an unhappy marriage to an impotent elderly spouse who is ignorant of her mental and physical frustration’. However, when we consider the particular humour of this song, we can identify how it serves to empower the female speaker.

      ‘Bean an tSeanduine’ differs from ‘An Seanduine Cam’ in that there is no third-person narrator. Like ‘An Seanduine Cam’, the humour of the song relies on a ridiculing of the old man, although here the young woman herself is his detractor. Each of his brags meet a witty riposte. When he claims wealth, she calls him a miser, and when he wonders what would become of his if he died during the night, she jokes that death is an immanent danger. When mockery of this kind is voiced by the female speaker, it serves to empower her, and inspire in the listener a sense of sympathy and respect.

    1. An Seanduine Cam - Corn Uí Riada 2016

      The song’s first two verses are spoken by a third-person narrator. In its humorous exaggeration, the first verse caricatures recognized conventions of arranged marriage. This narrative consciously situates itself in a genre whose familiarity to the listener is a necessary part of the humour. It addresses the economic incentives which were the major precipitating factors of marriage arrangements in rural Ireland during the eighteenth century. It also invokes the misery which such marriages often visited upon young women.

      In his essay ‘Love in Irish Folksong’, Seán Ó Tuama identifies among typical features of the malmariée genre that ‘a young woman speaks (in the first person) of her anguish,’ that ‘the description of the husband can be unbelievably grotesque and ribald: he is humped, crippled; he coughs, grunts, whines at night; most of all, he is cold as lead, important, and completely fails to satisfy her desires’, and that ‘she discloses that she is going to leave him for a young man’ (149). ‘An Seanduine Cam’ provides clear examples of all of these traits.

      Moreover, because these tendencies find expression in a debate form, and are redoubled in response to the unfeeling man, the resistant character of the put-upon young woman is strongly emphasized.

  9. Dec 2017
  10. Apr 2017
    1. Next the Municipality called for tenders. A dozen contractors sent in their estimates, the lowest standing at fifty thousand rupees, for removing the statue and carting it to the Muncipal Office, where they were already worried about the housing of it. The Chairman thought it over and told me, ‘Why don’t you take it yourself? I will give you the statue free if you do not charge us anything for removing it.’ I had thought till then that only my municipal friends were mad, but now I found I could be just as mad as they. I began to calculate the whole affair as a pure investment. Suppose it cost me five thousand rupees to dislodge and move the statue (I knew the contractors were overestimating), and I sold it as metal for six thousand . . . About three tons of metal might fetch anything. Or I could probably sell it to the British Museum or Westminster Abbey. I saw myself throwing up the upcountry paper job.The Council had no difficulty in passing a resolution permitting me to take the statue away. I made elaborate arrangements for the task . . . I borrowed money from my father-in-law, promising him a fantastic rate of interest. I recruited a team of fifty coolies to hack the pedestal. I stood over them like a slave-driver and kept shouting instructions. They put down their implements at six in the evening and returned to their attack early next day. They were specially recruited from Koppal, where the men’s limbs were hardened by generations of teak-cutting in Mempi Forest.

      Is the narrator suggesting that this whole fiasco is not really about a new political consciousness?

    2. For the next few days his head was free from family cares. He was thinking intensely of his answers: whether it should be TALLOW or FOLLOW. Whether BAD or MAD or SAD would be most apt for a clue which said, ‘Men who are this had better be avoided.’ He hardly stopped to look at his wife and children standing in the doorway when he returned home in the evenings. Week after week he invested a little money and sent his solutions, and every week he awaited the results with a palpitating heart. On the day a solution was due he hung about the newsagent’s shop, worming himself into his favour in order to have a look into the latest issue of The Captain without paying for it. He was too impatient to wait till the journal came on the table in the Jubilee Reading Room. Sometimes the newsagent would grumble, and Rama Rao would pacify him with an awkward, affected optimism. ‘Please wait. When I get a prize I will give you three years’ subscription in advance . . .’ His heart quailed as he opened the page announcing the prize-winners. Someone in Baluchistan, someone in Dacca and someone in Ceylon had hit upon the right set of words; not Rama Rao. It took three hours for Rama Rao to recover from this shock. The only way to exist seemed to be to plunge into the next week’s puzzle; that would keep him buoyed up with hope for a few days more.

      The detailed description conveys how deeply Rao is committed to the crossword puzzles. For his, it is an escapism from the reality of life. He seems to have abandoned both hope and responsibility.

    3. On his way home he stopped for a moment at his hospital, called out his assistant and said, ‘That Lawley Extension case. You might expect the collapse any second now. Go there with a tube of———in hand, and give it in case the struggle is too hard at the end. Hurry up.’Next morning he was back at Lawley Extension at ten. From his car he made a dash for the sick bed. The patient was awake and looked very well. The assistant reported satisfactory pulse. The doctor put his tube to his heart, listened for a while and told the sick man’s wife, ‘Don’t look so unhappy, lady. Your husband will live to be ninety.’ When they were going back to the hospital, the assistant sitting beside him in the car asked, ‘Is he going to live, sir?’‘I will bet on it. He will live to be ninety. He has turned the corner. How he has survived this attack will be a puzzle to me all my life,’ replied the doctor.

      Is it? Do you think it is the Doctor's word of hope that brought about his survival? The writer leaves hint at the beginning of this story. What is it that the Doctor does not understand about life and death?

  11. Jan 2017
    1. THE SNAKE-SONG

      In this story, identify the exposition, rising action, turning point and resolution.

      Once you have identified the plot structure, can you put it all into a statement about life that has relevance universally? This statement should be specific, but not so narrow that it is only about the text.

  12. Nov 2016
    1. taken prisoner by the Boers while on a scouting expedition. He made headlines when he escaped, traveling almost 300 miles to Portuguese territory in Mozambique. Upon his return to Britain, he wrote about his experiences in the book London to Ladysmith (1900).
      • Taking A Stand?
      • London to Ladysmith to-read
    1. That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.

      This shows how the colonists were taking a stand against the tyranny inflicted by the motherland, England.

  13. Oct 2016
    1. A heap of broken images

      I think this line refers to the poem itself. The poem is full of images as it moves, and often they feel disparate and negative, like "dead land" next to "breeding lilacs" in the opening two lines. The poem is a pile of fragments brought together. The fragments interact within the pile or the poem to create meaning.

    2. A heap of broken images

      The poem itself is a "heap of broken images." Hard to interpret but it seems as it's telling a story of from different perspectives. Maybe this means that in life we only experience these broken images in hope to interpret them.

    3. for you know only A heap of broken images

      This poem is all over the place and in this section it sets the tone, which will be reverberated with each book/stanza/line. Fragments, images, and phrases all scattered, leaving the reader with pieces to interpret and conclude.

      Eliot pays homage to the past writers by using their stories of love and loss to highlight the relevance of human behavior and desire and the nature and state of the world. Also, the change of narratives, the different styles of verse and prose undoubtedly leaves the reader more distorted and confused than ever.

      However, there is clarity between the lines of the dualities and complexities of the Waste Land.

  14. Feb 2016
    1. Determine a theme of a story, drama, or poem from details in the text; summarize the text.

      A fourth grade student should be able to determine the theme or underlying message/moral of a story.

      Theme

      A good example of this would be the book the book Charlotte's Webb. This book would allow students to read carefully in order to pick out the underlying message the author is trying to portray as well as linking back to the third grade standard of being able to refer to certain parts of the text ("chapters" or "sections") in order to determine the theme and back it up with key details from the text.