34 Matching Annotations
  1. Last 7 days
    1. I lost two cities, lovely ones. And, vaster, some realms I owned, two rivers, a continent.

      Ideas are getting more and more abstract. These mentions of place are perhaps symbolic of the memories she had of them, or of the relationships she once had there.

      She misses them but it she is still okay and everything is fine.

      Elizabeth BishopOne Art by Elizabeth Bishop

      Elizabeth Bishop’s One Art is a poem whose apparent detached simplicity is undermined by its rigid villanelle structure and mounting emotional tension. Perhaps her most well-known poem, it centres around the theme of loss and the way in which the speaker – and, by extension, the reader – deals with it. Here, Bishop converts losing into an art form and explores how, by potentially mastering this skill, we may distance ourselves from the pain of loss. At eight months old, Elizabeth Bishop lost her father, her mother then succumbed to mental illness and she later lost her lover to suicide. Therefore, we may see this poem as in part autobiographical. In it, the poet presents a list of things we may lose in life, increasing in importance, until the final culmination in the loss of a loved one.

      One Art Analysis

      The title should not be overlooked. With these two small words, Elizabeth Bishop encompasses the poem’s entire purpose: to remove the pain of loss by first levelling out everything that we lose; from door keys to houses to people (One), and second by mastering the fact of losing through practise (Art).

      The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. In the first stanza, Bishop sets out her intentions. She seems to affirm that loss is part of the human condition: we lose both significant and insignificant things constantly and should thus accept this as a natural part of life, and even master this practice so as to remove any sensation of disaster we may take from it. These two points will be repeated throughout the poem so as to emphasise them.

      Lose something every day.

      In the second stanza, she invites the reader in by naming two extremely common things to lose: keys and time. The enjambment between the first and second lines causes us to pause and contemplate how ridiculous is this ‘fluster’ that occurs when we lose our keys. She eases us slowly into her idea: the universality of these two occurrences allows us to relate and thus agree that indeed, this is not too hard to master and is certainly not a disaster.

      Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. The emotional tension begins to subtly build in the third stanza as Bishop incites us to further our practise, broadening the scope of our loss. Here, the things we lose are more related to thought and memory: people, places and plans that, with time, naturally escape our head and no longer form part of our lives. This is harder for the reader to accept and the familiar affirmation that this will not bring disaster becomes less comforting. House keys and an hour here and there seem commonplace and natural and to consciously lose these things to aid our mastering of losing does not seem too difficult. Places, names and plans require a larger effort and a degree of emotional distancing that the second stanza did not call for.

      There is a subtle change from the third to the fourth stanza, a perfect split in keeping with the poem’s rigid structure. Almost imperceptibly, the speaker switches from addressing the reader to drawing on her own experience. It is here that Bishop begins to undermine her meticulous structural details and carefully impassive tone. “I lost my mother’s watch”, she states, an admission that seems to come from nowhere. However, the casual tone is disappearing; the inexplicable mention of this personal aspect of the speaker’s life has upped the emotional stakes. As the stanza continues, it becomes clear that this is a further attempt to demonstrate the universality of loss. The picture becomes bigger and the distance larger. The exclamation: “And look!” betrays yet more emotion, despite it’s apparent offhand tone. Now Bishop tells us to look at our losses on a bigger scale: the houses we lived in – not so disastrous except for the use of the word “loved” here. Indeed, these were just places we lived in, but we nonetheless also loved in them.

      The first person speaker continues in the fifth stanza as the poet attempts to further distance herself from loss. She is stepping further and further back and the picture she is painting reaches a higher geographical level: to cities and continents. Nevertheless, this is undermined by a wistful tone: the cities she lost were “lovely ones” and, although she maintains that their loss was not a disaster, she does admit that she misses them. Faced with this unusual outlook, the reader is forced to ask at this point: if the loss of a continent is no disaster, what would thus constitute one?

      Bishop is also a traveller and called a lot of places home

    2. too hard to master

      Tone shift from confidence to yeah, it's not hard but you have to make an effort (more realistic in expectations to the reader; advice)

    3. I lost my mother's watch. And look! my last, or next-to-last, of three loved houses went.

      There is a subtle change from the third to the fourth stanza, a perfect split in keeping with the poem’s rigid structure. Almost imperceptibly, the speaker switches from addressing the reader to drawing on her own experience. It is here that Bishop begins to undermine her meticulous structural details and carefully impassive tone. “I lost my mother’s watch”, she states, an admission that seems to come from nowhere. However, the casual tone is disappearing; the inexplicable mention of this personal aspect of the speaker’s life has upped the emotional stakes. As the stanza continues, it becomes clear that this is a further attempt to demonstrate the universality of loss. The picture becomes bigger and the distance larger. The exclamation: “And look!” betrays yet more emotion, despite it’s apparent offhand tone. Now Bishop tells us to look at our losses on a bigger scale: the houses we lived in – not so disastrous except for the use of the word “loved” here. Indeed, these were just places we lived in, but we nonetheless also loved in them.

    4. —Even losing you (the joking voice, a gesture I love) I shan't have lied. It's evident the art of losing's not too hard to master though it may look like (Write it!) like disaster.

      he fifth stanza leads us to a brief look at the structure of the poem. The villanelle allows for a break in its pattern of tercets and tight rhyme, giving away to one quatrain with a repeated rhyme. Just as the structure cracks, as does the poetic voice. The final stanza opens with a dash, which could perhaps be seen as an attempt at a casual tone but in fact serves to slow the poem down here, allowing for yet more emotion to permeate the final words. The reader is forced to consider this “you”, and we see how the poem has taken a journey: starting with the little objects, going through thought and memory, to houses, places and continents forming one huge picture until at the end, zooming in on and pinpointing this “you”. A “you” with, as we infer from the parentheses, a personality, a memorable tone of voice and gestures. A person lost; an irreplaceable entity, in fact.

  2. Apr 2019
    1. and ran with energy through all the usual phrases employed in praise of their sublimity and descriptive of the undescribable emotions they excite in the mind of sensibility

      The narrator seems to underscore Sir Edward’s ridiculousness by recounting his description of the sea. The diction and tone used in this paragraph represents satire and criticism towards the romantic era and over-fixation of nature during Jane Austen’s time. She states that his phrases are “usual”, a diction that represents the mediocrity of his language. Austen states that his descriptions are  “undescribable”, which he then proceeds to list with great flourishment.


    2. I heard again from Fanny Noyce, saying that she had heard from Miss Capper, who by a letter from Mrs. Darling understood that Mrs. Griffiths had expressed herself in a letter to Mrs. Darling

      Diana loves to name drop and explains her connection through a long chain of names and letters. Definitely room for false information.

    3. sentimental novels

      The ironic tone suggests that Sir Edward is a not very self aware hypocrite.

    4. You will never hear me advocating those puerile emanations which detail nothing but discordant principles incapable of amalgamation, or those vapid tissues of ordinary occurrences, from which no useful deductions can be drawn.

      In layman terms: Sir Edward thinks novels are silly and useless. Again this is ironic because Austen places his statements about novels within a novel. Most likely her readers are fans of novels who will read Sir Edward’s critique and disagree with him, making him a more undesirable character. In addition, the flowery meaningless language strongly weakens his argument. Novel > Sir Edward

    5. rather commonplace perhaps, but doing very well from the lips of a handsome Sir Edward

      The juxtaposition between the diction “commonplace” and the ironic praise given to Sir Edward criticizes the human tendency to lower their standards for people who look beautiful on the surface, a very shallow judgement of character that is usually held by women towards handsome men.

    6. It was impossible not to feel him hardly used: to be obliged to stand back in his own house and see the best place by the fire constantly occupied by Sir Harry Denham.

      The narrator is discussing the portraits as if they were humans and consequently making fun of their respective subjects’ importance to begin with.

    7. Lady Denham can give, if she is properly attacked

      The narrator is being ironic. She mocks the strange contradiction between giving out of kindness and being forced to do so.

  3. Feb 2019
    1. he same in all nations, and consequently can e

      So while words vary widely and have no direct relation to the ideas they represent, tone is universal. Here we have another claim about the human: it is one who uses tone in a certain way.

    2. there is no tone which the ear can distinguish

      Is he reasoning that we can understand another species language but we can always understand tone?

    3. very ideas can not be communicated, nor conse­quently our meaning understood, without the right use of tones;

      Tones aid in understanding context connotations of conversations.

    4. sis. To the use of these tones is owing in a great measure concise­ness of discourse; and the necess

      Tone is crucial in conversation and public speaking. I think this is where the disconnect happens through texting, where tone is difficult to reveal, often leading others to misinterpret messages. I believe the invention of emojis was designed to combat this problem.

  4. Dec 2018
    1. that masterly style

      Austen pokes fun at this character once again -- he is too cheap to put the maximum effort into pretending to be a Byronic hero.

    2. perversity of judgement

      Jane Austen directly makes fun of Sir Edward for modelling his behavior after male characters like that of Richardson's.

    3. sublimity

      The era of romanticism is marked by a preoccupation with the sublime, or of awe inspiring, overwhelming beauty, and a return to nature. Romanticism focused on large emotions, and its writers sought to capture and recreate art in a visceral way, approaching the sublime, focused on nature and natural imagery.

    4. my heroine's vanity.

      The self-reflexive style of this text is most similar to Austen's Northanger Abbey, which has a complicated editing timeline. It is possible that these "meta-fiction" details were added into Northanger Abbey later, and that the original draft of Susan did not have such a tone.

    5. an additional burden

      This sentence is particularly cruel towards Clara, and represents a shift through free indiret discourse from the narrator's perspective to the perspectives of one of the characters. However, it is difficult to determine whether or not the opinion is that of Lady Denham or Mr. Parker.

    6. Links to common words/themes throughout the annotations

  5. Oct 2018
    1. A little while, that in me sings no more.

      This line also contributes to the overall gloominess of the text because it does not indicate any sort of hope for the future or incline that something will change for the speaker, whether that be her getting her memories back or her companionship and and presumable happiness back. They are saying that they were only happy for a little while and will never be happy again.

    2. Is full of ghosts tonight, that tap and sigh Upon the glass and listen for reply,

      gloomy, secluded

    3. A little while, that in me sings no more.

      This last line is highly indicative of the melancholy tone throughout the passage. If we didn't catch the tone prior due to the use of words such as "rain", "quiet pain", "cry", "lonely", and "gone", we definitely know now. This last line is especially depressing because of the placement of the comma. The word summer seems to represent happiness, and the short pause indicated by the comma in the last line enhances the speakers realization that she had happiness and will no longer have it again.

    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

  6. Apr 2018
    1. On the surface, a federal balanced budget amendment (BBA) sounds like a reasonable idea. In reality though, it is horrible public policy that will hurt American families, sabotage our nation’s economy, and weaken confidence in our Constitution.

      strong language without direct evidence.

  7. Feb 2018
  8. Oct 2017
    1. sound effects

      One of my favorite sound effects in movies is called the "Shepard's Tone" and I consider it's impact as an aural mode to be surprisingly effective.

      https://www.youtube.com/watch?v=LVWTQcZbLgY

      This video explains how Hans Zimmer composed the soundtrack of the movie "Dunkirk" using the Shepard's Tone and shows examples of it in other movies directed by Christopher Nolan or soundtracks composed by Hans Zimmer. In the video, the musical mechanics behind the Shepard's Tone are explained. From 0:41 to 1:28 the video analyzes the process of using "several tones separated by an octave layered on top of each other" to create an illusion of a constant ascending tone that never ends. This effect causes viewers of the movies the soundtracks are featured in to feel a rising sensation of suspense. I consider this to be one of the most powerful aural modes for communicating intensity and suspense in a soundtrack or movie.

  9. Feb 2017
  10. Sep 2016
    1. So the reconciliation of the Cuban people -- the children and grandchildren of revolution, and the children and grandchildren of exile -- that is fundamental to Cuba’s future.

      President Obama uses tone and diction to elicit an impassioned response from his audience. Using the words "revolution" and "exile" produce feelings of pride as well as either anger or sadness.

  11. Aug 2016
    1. June Callwood once asked her how she acquired “an exquisitely developed conscience.”Dr. Franklin replied: “You tune it like an instrument. You know, when people start singing they develop an ear. They develop their voice. They begin to hear dissonances that they didn’t hear before. You become attuned to having to make responsible and moral decisions. … [In Quakerism] you don’t have a creed, you don’t sign something; the only proof of your faith or lack of faith is how you conduct your life. Consequently it’s like singing. At every point you say, ‘Am I in tune?’”
  12. Feb 2016
  13. specialedwitheva.weebly.com specialedwitheva.weebly.com
    1. I HOPE I CAN KEEP ON LEARNING AND BECOME THE BEST SPECIAL EDUCATION TEACHER I CAN BECOME!

      I can feel your excitement here, but think you might convey that with an exclamation point in lieu of all caps. All caps seems REALLY LOUD :)

  14. Nov 2013
    1. Deception, flattering, lying, deluding, talking behind the back, putting up a false front, living in borrowed splendor, wearing a mask, hiding behind convention, playing a role for others and for oneself-in short, a continuous fluttering around the solitary flame of vanity-is so much the rule and the law among men that there is almost nothing which is less comprehensible than how an honest and pure drive for truth could have arisen among them.

      Nietzsche is quick to point out extreme human flaws. Negative nancy. Really sets the tone for the reading, very dark.

  15. Oct 2013
    1. To express emotion, you will employ the language of anger in speaking of outrage; the language of disgust and discreet reluctance to utter a word when speaking of impiety or foulness; the language of exultation for a tale

      Tone of language must match emotions of piece