Derbyshire is a county located in the East Midlands (https://www.visitengland.com/things-to-do/derbyshire).

Darcy’s income was more than 300 times as much the average per capita income of his time. Translated into today’s currency, Mr. Darcy would have an annual income of over $300,000 (http://www.jasna.org/persuasions/printed/number12/heldman.htm).

Hertfordshire is a county located in the South East of England. (Tom Williamson, Origins of Hertfordshire, 4). It is approximately 30 miles from London to the south, as can be seen in the second photo.

Women learned specific skills to make themselves more desirable to potential suitors. The accomplished woman read appropriate books and was knowledgeable in math, science, French, social science, music, art, dance, and needlework. Women were expected to socialize well and serve the family with skills that would not challenge her husband (http://randombitsoffascination.com/2014/11/04/accomplished-lady/).

The Boulanger was the closing dance at a ball, in which couples would align in a circle, turning dancers and their partners, and then repeated the dance in the opposite direction (https://www.yorkregencydancers.com/regency-dance.html). Below is a depiction of the dance. https://www.youtube.com/watch?v=nuSa5JLUAAY

Connected to the great migration. People traveled to industrial cities in mass numbers.

August Spies, George Engel, and Albert Parsons were labor activists who were killed for the Haymarket affair. The speaker remembers the past, which brings the three to speak from the dead like ghosts or zombies. The past is tied to the present like in The Wasteland.

"The Prince of Aquitaine at the abolished tower"

The body is mechanized in a similar way that cubism rendered the form in fragments and shapes. As industrialism and technology grows, the image of the self follows. They are alive and in motion, but not really human, kind of like a zombie.

"And O these children's voices, singing in the cupola!"

Sea-wood is the wood that sinks to the ocean floor. When we usually think of wood in water, we think it will float. This area is constructed by the opposite of what we think, in a similar way that the seasons are described. There's also something about "sea-wood" that is so interesting, that these two words are put together. The sea is intangible while wood is solid.

The fruited vines can possibly relate to Ceres/Demeter, the goddess of agriculture, fertility, and motherhood. This ties into the first lines of the poem. The Cupidon/cupid relates to desire or attraction. He is the son of Venus and Mars, which a kind of in between of vastly different gods. Venus pulls together while Mars detracts. There is also an element of blindness from hiding.

The narrator finds new shelter under a place absent of life when the tree is barren, in which they more vulnerable/open to the decay. Under the rock, the dark is comforting since the shadow of the rock should move like the person's shadow when interacting with the light. However, everything is different and disorienting in this landscape where ideas about nature don't necessarily apply.

There is the implication of blindness, or a veil reminiscent of Du Bois's work. They have things that are a part of them that they cannot (fully) see themselves. There is something hidden that must be revealed.

Madame Sosostris operates as an oracle would in a Greek tragedy, which relates back to the epigraph about the Cumaean Sibyl. Sosostris is hindered by a cold, but is still valued by the narrator for her wisdom and insight into the future because their world is in such decay.

https://www.youtube.com/watch?v=bs2qxXb1ExQ

Writing about The Odyssey is vastly different from actually writing the Odyssey. This goes the same for any creative work. People can write about meter, but they will not experience and think about the same things as the writer. Only so much can be understood by them.

Pound valued sharp images and exact symbols, in contrast to romantic poetry which focused on abstract ideas and emotions. The concrete is intended to be specific and tangible so that one can derive meaning for themselves.

The writer should be deliberate and precise about which words they choose. Whether or not the writer is restricted, words have weight and the reader will notice. A few concise words can have more power and meaning than many pages expressing the same sentiment, especially when it comes to poetry. This requires continuous critical thinking and rethinking.

This reminds me of Maslow's hierarchy of needs in which philosophical needs and safety are meant to be fulfilled more than social belonging. However, with this poem, although love does not meet those specific needs, it doesn't mean that love isn't important and vital. Love is not all, but it is not nothing. People are affected by love and the lack of it.

This reminds me of Frost's "Design". Both narrators question what force compelled a deadly scene to compose themselves in a particular way.

This poem contradicts itself since acts as a eulogy to an unnamed, unmourned man. The narrator speaks from an omniscient perspective since no one is there to see him.

Throughout the poem, the narrator magnifies a small scene and questions the design of the spider, moth, and flower by themselves. Here, the narrator shifts their perspective, a pulling away to look at the scene as one would typically see it. People don't tend to notice these small details, much less question them and their relative importance in a higher power's design. People typically accept it as a part of nature. This poem explores the design in the minuscule and the things that people ignore or passively accept as a part of life. The narrator questions what force compels these separate things to come together, similar to Adams's piece.

Another similarity to Mr. Flood's Party. Both narrators seem to travel in this liminal space on a specific night. They are both without human companions and continue on their journeys in relative silence with only their thoughts, so they imagine their surroundings as more than they are.

In Robinson's poems, the village represents a return to the past. This differs from Frost's perspective, in which the village resembles how we think of cities as modern. The narrator watches the woods of the man fill with snow while the owner is elsewhere. The narrator knows more about the current condition than the owner does at that moment. It's also strange that a person could "own" the woods, and that "his woods" are filled with things that are natural.

There is a separation between the narrator and himself. The auction acts as a second death for the narrator. His contributions and people's memory of him dwindle until he is no more, both in life and in spirit. In a way, this poem counters this action because it makes his life known, immortalized in poetry.

The narrator seems to be writing or reciting her own eulogy. She speaks outside of living self while also reflecting on her life in the first person.

Mr. Flood imagines he is talking with someone on his solitary walk to his abandoned home. He imagines they would talk to him as a friend and they would value the harvest moon like he does. The harvest moon is the full moon that can be seen near the time of the autumnal equinox. Flood implies that he will not live for much longer, since this only occurs once a year. He accepts his age and his eventual death with a subtlety that is both happy and sad.

This is a reference to The Song of Roland, a French epic poem about Charlemagne's nephew Roland. Charlemagne's army couldn't save Roland's men during a fight, yet Roland blows his horn again with such force that he dies. Here, Flood sees himself as Roland. Since Flood is alone and far from town, no one can hear his cry or come for him.

The narrator's husband disregards her illness as both a man and a physician. She writes what she cannot say aloud, an unspeakable problem. She acknowledges that silence and ignorance is an issue that contributes to her inability to improve. Her relationship with John is reflective of the way women and mental illness were viewed and continue to be viewed. This lack of discussion and understanding is similar to how St. Gaudens did not see the woman as a force in Adams's and the unasked question that people flutter around in Du Bois's work. These three stories maintain that silence matters.

Like Adams' and Du Bois' work, Gilman's story possesses a haunting or ghostly quality. Gilman's narrator associates her landscape and herself with those that are typically found in gothic literature. Although she refers herself as an "ordinary person", she wants adventure from this unfamiliar landscape. She wants to be the gothic heroine, and in a way becomes one.

This segment particularly reminded me of Adams's journey for truth. In Adams's piece lies the idea of the process over the goal. In this piece, the "climbers" do not reach the goal but come out irrevocably changed.

This is such an interesting line because of how religion was often used to justify slavery. Even after emancipation, black codes, laws, incarnation, religious groups and fear tactics were used to further dehumanize and stunt socioeconomic mobility; they were not free. Adams and Du Bois both transfer their ideas and concerns into a religious context.

Lourdes is a place of pilgrimage where the Virgin Mary was said to appear to Soubirous. She was asked by the Virgin to dig there and drink the water from a spring that had miraculous healing powers. Adams references religious symbols and icons that that have much more relevance to his location than the United States where stories about the Virgin Mary and other religious figures are far less prominent. This reference highlights the religious and cultural differences between the US and France.

There's something about looking at history through a solely scientific lens that doesn't sit well with me. To me, history has a tendency to lack exact answers to questions. Although I could understand the necessity of concrete facts, this particular viewpoint rejects the complexity of events and the people involved. If history is meant to follow a specific sequence, and Adams disagreed with his contemporaries, then how is history defined and sequenced and who decides what is true?

The use of the word paradise and its juxtaposition to religious comparisons reminds me of Dante Alighieri's Divine Comedy. Langley seems to guide Adams through the Exposition in a similar fashion to Virgil, but with faith in scientific forces over the divine. Perhaps Adam's search for scientific knowledge is meant to correlate with Dante's search for meaning? In addition, this phrase in itself is so fascinating, since we expect Adams to become more knowledgeable, rather than in a state of ignorant bliss.

Although these two are in pursuit of scientific knowledge, I find it very strange and frustrating that they put aside the art in a city that is specifically known for its art. There is a coldness to how Adam perceives this exhibit ingrained in a false assumption that art has no relevance or importance to science or history or ourselves.

The poem shifts to first person in the last stanza, attaching the narrator to the destruction or deterioration. Words and phrases such as "gasoline", "gutted cars", and "oil-stained earth" that helps grow They Lion seem connected to the narrator's car. Rather than being eaten by earth, it is mobile and fueled. The car feeds the harm, just as it feeds from the narrator's hands. The harm is implicated to be passed on to future generations.

These lines contribute to the relationship between the natural and the industrial repeated throughout the poem. The horses or pigs are killed and manufactured into glue. The natural is made industrial. The process feels more malicious when the product of slaughter is described as sweet. The violence of the first line contributes to the violence of the next. Sweet is repeated, suggesting that the kinks of the fist do a similar violence that helps They Lion grow. It implies a system of harm from human violence.