Auden's poem is a call for action. He clearly expresses a deep connection to the political events occurring while those around him do not seem to share this concern. They "obsess [over their] private lives" and fail to feel the same sense of empathy Auden does. Auden makes it clear that a lack of love and a lack of empathy have caused these problems and in general cause every problem. To him this should be intrinsic. He views it as basic knowledge saying, "I and the public know / What all schoolchildren learn, / Those to whom evil is done / Do evil in return." This statement reads like a bleaker version of the "golden rule" focusing on doing evil unto others because it has been done unto you. Auden calls for love to break this cycle and his tone becomes desperate as he blatantly and powerfully writes, "We must love one another or die." Auden judges the people around him for their apathy and uses his "voice" to fight this war in his own way without violence or political strategies but by addressing what he views as the most powerful untapped resource of all: compassion.

Lawrence seems to indicate that fear prevents this almost mystical communion with the world he describes. This creates a paradox-like situation where the world would be less frightening if people could stop fearing the world. Here the knocking at the door is "three strange angels" yet the immediate instinct is it is "somebody wants to do us harm." The poem argues fear and paranoia prevent living. The only way to appreciate the world is submission to its forces. Lawrence calls for all to "yield [them]sel[ves]."

This line from Mr. Crofts is one of the quintessential themes of this play. How do we determine what is morally allowed? Frank is willing to continue a relationship with Vivie despite the notion she may be his half-sister because he loved her before he discovered this news. He judges Mrs. Warren for running her prostitution ring even though she attempts to justify her "career" as the only way to escape her former impoverished life. These characters attempt to justify partaking in questionable, disgusting, and immoral acts yet Shaw blends the lines between good and bad, allowed and forbidden, and accepted and rejected. Here Crofts does what the entire play does: question whether anyone can claim a moral high ground or live a "moral life." How can one live morally if living morally can'y be defined?

Shaw's play has an unfavorable view of clergymen as indicated by the character Reverend Samuel Gardner who is rather daft and indolent. Here Mrs. Warren explains the disconnection between the clergy and the impoverished members of the community. Rather than embracing the gospels' messages of charity, justice, and dignity of the poor, the clergymen Mrs. Warren describes are detached from the vulnerable. Here Mrs. Warren recollects a clergyman telling her that her sister probably committed suicide by jumping off the bridge into the river and using this story as a warning to perhaps scare Mrs. warren into doing her work to progress socially. Mrs. Warren calls him a "poor fool" to not realize that this fate didn't frighten her because to her dying would be a more welcome end than continuing having to do the gruesome manual labor the factory required. The clergyman is oblivious to the work these young people were doing. This characterization is very similar to Blake's descriptions of the clergy. Additionally the character of Rev. Gardner and this description of the clergyman as a "fool" relate to Austen's depiction of the clergymen through the eyes of Mary Crawford.

It initially seems odd that Laura tells her children about her sister's rape in a nonchalant story format. While she makes her children aware that this is a true story she tells it in the way any mother would read something such as a fable or fairytale to her children. Rossetti makes it clear that the children are small since she describes them as "the little ones." It is also inferred that these children are girls as Laura mentions specifically how important it is to realize the value in having a sister. The fact that Laura feels it is necessary to already warn her young daughters about being wary of men is indicative of the problems in how women are treated in this fantastical setting. This telling of a traumatic experience in a whimsical manner in a way mirrors what Rossetti herself is doing by writing about a sexual assault that takes place in a fantastical universe. Rossetti and Laura place these tragedies in story-like forms distancing themselves from the realness of their horror. However, Laura knows her sister's sacrifice was not one of a glorious heroine as she seems to be describing to her daughters as much as Rossetti knows women shouldn't only be afraid of goblins raping them. Both Laura and Rossetti's stories become cautionary tales warning women to be aware. Yet, what do Rossetti and Laura want their readers and daughters to do? Is the answer to not go to the market? Is that the only solution for women in societies: fantastical or not?

Heathcliff is pursuing his revenge by taking advantage of laws that will forbid Catherine from gaining Edgar Linton's property. Here Linton is alluding to his father's threats for him to marry Catherine. Since Linton is a minor and Catherine's property will go to Linton Heathcliff by law will inherit everything. As this is a novel about property it is equally a novel about women, especially since the lines between women and property were blurred by 18th century law. This excerpt shows the beginnings of Heathcliff's iniquitous scheme. Later he will force Catherine, a 17-year-old girl to get married by locking her in his home and threatening to not let her see her dying father. Heathcliff can be seen as the reverse-imperialist: a man of color conquering British aristocratic land. Perhaps equally so, his actions characterize the patriarchy and the confined lifestyles the women of this novel must live. Heathcliff abuses Isabella, traps Nelly in his estate, and forces Catherine to marry his son and then live with him after he dies. While Heathcliff mistreats many characters, both male and female, there is something striking about the way he confines women and literally traps them that is worth analyzing.

These two passages both delve into one of the novel's driving themes: revenge. Here Isabella expresses the sentiment that violence and treachery are "spears pointed at both ends," harming all who engage in acts of either. Hindley justifies violence by saying, "Treachery and violence are a just return for treachery and violence!" Heathcliff wants revenge for the way Hindley treated him as a child and inadvertently preventing him from marrying Catherine by imposing the idea that their marriage would degrade Catherine. Hindley in this instance wants revenge for Heathcliff's acts in his revenge on Hindley, such as tricking him to lose his fortune and dominating his house. It already is clear to the reader that revenge is chaotic; who is seeking revenge for what and how or when will this cycle end? Although Isabella points out there are no winners when you engage in violence, she too seeks revenge against Heathcliff in the second passage. She watches him cry and feels joy. She goes on to say how she desires the "chance of sticking in a dart" and says, "his weakness was the only time when I could taste the delight of paying wrong for wrong." Do we justify revenge as long as it doesn't cross certain boundaries? What do we make of Isabella's hopes that Hindley does kill Heathcliff? Does this wish go against her former statement on violence or do we accept it because she herself is not engaging in the violence? As Heathcliff's plot for revenge unfolds what actions lack justification and what do we make of Brontë's depiction of revenge?

Catherine can't find herself at home in heaven: a place where God reigns and holds absolute power. Heaven is most likely unappealing to Catherine because she would not be in control there. Here Catherine is faced with a "choice" of whether she should marry Edgar Linton even though she does not love him. Catherine's reasons for marrying Edgar are all superficial; she is concerned with having status, money, and social dignity. Catherine thinks she has control over her life on earth but in reality she does not. Her decisions are influenced by her society's beliefs on marriage. Catherine expresses the desire to marry Linton in order to aid Heathcliff. We will see that she is unable to do this and that Catherine is less in control of her life than she thinks she is. This dream of landing "into the middle of the heath" therefore is highly symbolic. Heaven and the domestic sphere are places Catherine doesn't belong. Catherine wants to live in the heath, which is remarkably similar to Heathcliff's name (not a coincidence). Heath is defined as uncultivated land: a place of disorder. Catherine and Heathcliff are both people who desire this wild freedom that is free of rules, morals, and limitations. Yet heath is known for being coarse and dry. Is Catherine and Heathcliff's relationship toxic and ultimately the cause of their demise? Does this love wither their sense of human decency? Is this symbolic life on the heath a place where having ultimate control can be debilitating rather than freeing?

These lines deal with the poem's theme of perception versus reality. The speaker describes a "calm" (1) sea, a "tranquil bay" (5), and "sweet...night air" (6). These images all seem charming and serene but instead upon closer recognition, this place is indicative of the world's insincerity and coldness. The speaker calls upon his love to "listen" (9) to experience the true reality of this place. In these lines this theme of perception vs. reality is highlighted more thoroughly as Arnold's speaker mentions this world "which seems" (30) beautifully promising but is really not. The poem addresses the notion that awareness often leads to pain. The poem concludes with an image of "ignorant armies" (36) clashing by night. This could be an allusion to war. The fact that these armies are ignorant implies a lack of awareness at the violence and bloodshed they are perpetuating. Arnold's speaker, unlike these ignorant armies, is aware of the polemic aspects of his society and calls upon his love to reach this awareness as well because it is painful, but necessary.

Without having further context, it seems as if Hemans is adapting a militaristic and "patriotic" voice who expresses an insensitivity towards the lives lost in war. This voice calls for the storm to "rage on" and alludes to the "Roncesvalles' field" being won. This voice is enthusiastic and appears to be pleased with the fact that England won this battle in Spain. However, Hemans creates an image a field that is not triumphant and glorious but instead a burial ground where "England's dead" slumber. Hemans' phrase "England's dead" could perhaps be an attempt to hold the nation-state accountable for the death of these soldiers. These men are "England's" and the nation did not protect their lives but instead made them die under the guise of patriotism and expansionism.

Browning's simile conveys the speaker's feeling that her race has put her in a prison. This relates to her fettered state as a slave but the speaker speaks about this prison in a deeper manner. She compares her blackness to "prison bars" and "pour souls" are trapped behind them. Therefore this simile can also relate to the speaker's soul being trapped by her black skin. The speaker shares how blackness prevents her from being seen as a human. Her human soul is trapped behind her skin. She feels this prevents her from fully being a child of God and from being treated with dignity by white individuals.

Southey calls for European imperialists to be punished for the heinous acts they commit to Africa. It is significant that Southey calls for the "genius" or spirit of Africa, which he depicts as nature, to avenge the wrongs of its people rather than calling for the African people themselves to seek revenge for this treatment. This presents the Romantic view that Nature is superior to humanity and is sacred. Southey personifies nature and presents it as a moral voice that possesses the potential to bring about justice. This focus on Africa's nature is particularly relevant due to colonial forces' efforts to expand and claim land: land that was not theirs. By calling for Nature to avenge these wrongs Southey attacks the imperialist agenda and argues that land should not be claimed or taken away from its rightful inhabitants. He therefore calls the land to revolt against this attack on itself.

It is clear to the reader that Fanny's family doesn't know who she truly is as a person. Yet, it is also clear that the Bertrams lack an understanding of who Fanny is. On another level, it is clear to the reader that none of the characters seem to truly understand or appreciate one another. Here Fanny is upset that her family asks "little about herself" (260), but this causes the reader to wonder whether any of the characters' conversations in the novel are made out of care or are rather for ulterior motives. For example, Mary Crawford's letters to Fanny may seem friendly but are only done in an effort to help her brother in seducing Fanny. Fanny seems to be the only genuine character in the novel. Why does Austen portray her like this? The Bertrams' decision to adopt Fanny and remove her from her own family influences her identity in a unique way. Fanny is seen as foolish for wanting to marry for love and being adamant in this desire. However, based on the way Austen characterizes Fanny's family, it is evident that they were not the cause of Fanny's strong moral foundation. The Bertrams too, even Edmund who considers himself similar to Fanny, do not share her level of honesty and loyalty. Perhaps Fanny has autonomy since she is able to rise above negligent parents and status-obsessed relatives to become an honest and good person. How will this affect her? Will she be able to make the choice she wants to make?

Mrs. Norris thinks she will have the "honours of the evening" and be able to plan the entire ball. However, she finds everything was prearranged already. Yet, she consoles herself by thinking that she would have made the same decisions that were already made anyway. This concept is the illusion of choice. This idea relates to the characters in Austen's novel. Other than Sir Thomas, who is really given power and has ultimate control over their lives in this novel? Edmund "chooses" to be a priest in the same way that William "chose" to be a sailor or Maria "chose" Mr. Rushworth as her husband. Nineteenth century England is also creating this illusion of choice for its inhabitants. Sir Thomas could perhaps represent England while Austen's other characters represent the array of England's citizens.

This line exemplifies Fanny's marginalization among those with whom she associates on a daily basis. Fanny is so used to being a silent observer and the fact that her opinion is wanted completely shocks her causing her to "shrink" (107). It is distressing to reflect on the idea that this very well might be the only time Fanny has ever been asked to share her own opinion. In previous chapters she either quotes authors' words or shares her ideas quietly with Edmund. Now, she is being asked to share her own thoughts and feelings and this opportunity fills her with delight. Fanny's delight at a common human experience: giving advice or discussing one's views with peers, displays how deprived she is because of her class. Edmund's asking for her opinion relates to the Romantic Era's focus of giving a voice to the voiceless in society. Edmund is giving Fanny a chance to share her voice in this moment just as Austen is giving Fanny a voice in this novel by making her, a lower-class ignored young woman surrounded by those of higher status, the protagonist of her story.

Austen describes the mentioning of "contrition" and feeling of "despondence" expressed in Mrs. Price's letter that seeks "reconciliation." The words "contrition" and "reconciliation" invoke thoughts of religion. It is evident that Mrs. Price is in a desperate situation and seeks a form of "redemption" from her sister, Lady Bertram, a wealthier higher class individual than herself. By using this religious diction Austen could be representing the power of the upper class and the God-like control they have over those below them. Mrs. Price has not done anything wrong or harmful to Lady Bertram; the reader is only told she married to "disoblige" her family. However, because of her state of destitution she has no other option but to call upon her sister for forgiveness in the way a hopeless sinner or lost soul might seek God's guidance and assistance. This highlight's the novel's theme of class and compares the lower-class and upper-class power dynamic to the dynamic between humanity and God. I presume class issues will continue to be developed and be a major theme throughout the work.

This phrase is an oxymoron that helps describe the speaker's relationship with nature. Unlike when he was a boy, the speaker does not come to nature with an "appetite" and does not only expect to gain from his experience. He now is willing to confront suffering and sadness and reflect on it in deep contemplation which fulfills him. He now understands he must become one with nature. He subsequently offers himself in a way to nature, telling her to think of him when "solitude, fear, pain, or grief" come her way. This represents his communion with nature.

Wordsworth uses this word to describe death and the body's ever-working mechanisms, such as the lungs and heart, coming to a pause. This use of the word "suspended" parallels the speaker's own encounter with nature. Like death causes the body to stop, the speaker's encounter with nature makes him pause and temporarily prevents or "suspends" him from his everyday life. In this way nature is otherworldly to him and like death gives him peace and a renewal of spirit.

Keats depicts Autumn as absentmindedly charming. Autumn's hair is soft and blows in the wind, which paints an image of subtle beauty. This personification of Autumn as a laid back yet appealing figure represents Keats' feeling towards the season. Keats finds autumn "underrated" and beautiful in a way that is not garish like spring but instead subdued and equally, if not more appealing, than the season poets typically adore.

Wordsworth writes from the point of view of an observer rather than writing from the convict's point of you. However, he is able to tell the convict's story and present his feelings and desires (e.g. "with wishes to the past undo" (22) ). Wordsworth does not write from the convict's point of view perhaps to show the lack of voice convicts have in society. However, Wordsworth's choice to have another voice look at the convict exemplifies the speaker's empathy and perhaps is a call for the reader to express a similar sense of empathy towards this convict and all of the marginalized in society.