I found this line very interesting, inspiring, and encompassing of the message of this poem. I feel that this line embodies the positivity, strength, and resilience of the African American people. As the poem describes, African American people still faced injustice, racism, and suffering at the time of the poem, as well as today. However, this line displays that they do not let their suffering beat them down. Instead they continue to fight and be positive about their circumstance. Like D.H. Lawrence's "Song of a Man Who Has Come Through," the speaker in this poem seems to have confidence that the situation will change and turn out better. At the end, he states "destiny is our friend," implying that something like Lawrence's "fine, fine wind" will come along and make sense out of this suffering. This line displays the African American people's ability to find happiness and good, even amidst their extreme pain and suffering. Perhaps the poet is suggesting, like D.H. Lawrence, that one can always find peace and goodness in their situation.

Right before this line, the speaker refers to himself as "sensitive, subtle." However, here he decides to "yield [him]self" to the "fine, fine wind." I feel that the change in these lines demonstrates the change in the narrator's thinking over the course of the poem. In the beginning, he seems uncertain and afraid. However, in these lines he seems content to let his circumstances take over his life, and this is how he finds peace. Perhaps the poem is encouraging its readers to rise above their problems and difficulties by accepting their situations and trusting that the world's "chaos" will resolve itself.

This line reveals how different Vivie and her mother are. Her mother, Mrs. Warren, believes in "the Crofts philosophy of life," while Vivie's philosophy is completely different. Vivie seems to value morality over money, the opposite of her mother's values. A few lines later, Vivie declares, "I am my mother's daughter. I am like you." This displays that both women want the same things, but their ways of getting them are completely different. Vivie makes her living through hard work and education, while Mrs. Warren makes hers through prostitution. The similarities and differences between the mother and daughter beg the question: can we really condemn Mrs. Warren for her profession like Vivie does? Or should we respect her unconventional method of achieving independence, freedom, and means?

In this line, Mrs. Warren reveals her true character, something that Vivie and her mother struggle with and disagree about throughout the play. Mrs. Warren constantly claims to be a good woman, only involved with prostitution because she felt it was her only source of freedom and independence. Vivie accepts this, but then later changes her opinion when she finds out that her mother is still involved in prostitution for profit. This line is important because it demonstrates that perhaps Vivie is right about her mother and she is not the "good woman" she claims to be. Here it becomes evident that Mrs. Warren is the woman blackmailing the Reverend, and she clearly does not feel badly about it. Instead, she takes this opportunity to embarrass him about it. Instead of just keeping it between the two of them, she seems to thoroughly enjoy mocking him in public. This displays Mrs. Warren's true character: she is not torturing the Reverend for survival, instead she seems to enjoy making him miserable.

Here Lizzie is warning her sister Laura not to give into temptation and not to go to Goblin Market or buy the goblin men's fruit. However, Laura does not listen to her sister. She buys and eats the fruit and becomes sick. Thus, perhaps these lines are implying the untrustworthiness of men and the importance of female friendship. Lizzie's warning not to eat the fruit can be seen as a larger warning to all women reading the poem: do not give into male temptations, and instead listen to and value female friends. The story is a cautionary tale, warning women what could happen to them if they do give in to men, like Laura who becomes sick. Lizzie, her sister, is then the only one who can save her. The distrust of men and sisterhood of women are interesting themes considering how little rights women had during this time. Perhaps the poem is suggesting that in order to gain more civil rights and become equal to men, women need to stick together.

This line is so interesting because Heathcliff, who has been referred to as a devil/demon since he first arrived at Wuthering Heights as a small child, is now likening himself to the devil as a grown man. I think this displays just how much the Earnshaws' cruel mistreatment has affected and shaped Heathcliff. He now uses their language to describe himself, illustrating that those insults have stayed with him. It is as if Heathcliff, as an adult, becomes the devil he was always told he was. His cruel behavior and mistreatment of his own son seems to stem from the Earnshaws' original cruelty and insults toward him. How does this affect our understanding of Heathcliff? Can we be sympathetic towards him despite his horrible behavior?

Heathcliff being described as a "victim" is such an interesting word choice- because it begs one of the most important questions of the novel: Is Heathcliff a victim? Or is he a villain? From the moment he arrived at Wuthering Heights, Heathcliff was treated like a rabid animal, a victim of the Earnshaws' cruel behavior. But by this time in the novel we've seen Heathcliff exhibit his own cruel behavior to people who certainly don't deserve it, such as Isabella and Hareton. Later in the second passage, Isabella describes Heathcliff's forehead as "diabolical." In the same chapter Heathcliff is described by Isabella as both a victim and diabolical, appearing as a human contradiction. So what is Heathcliff's true nature? Is he diabolical, and if so, how did he become this way and who is to blame?

In this scene, Hindley accidentally drops his infant son while he is drunk and Heathcliff catches the baby, saving his life. Nelly describes Heathcliff's heroic act as "a natural impulse," which is interesting because it displays that Heathcliff is naturally good. When Heathcliff comes to live with the Earnshaws, Hindley and Mrs. Earnshaw automatically hate him. He is described as animalistic and even devilish. Comparing Heathcliff to the devil suggests that he would be a naturally bad or evil person, but this is clearly not the case. His first and "natural" instinct is to save Hareton, even though he is Hindley's son and he knows Hindley hates him. Despite his "devilish" characteristics, this proves Heathcliff's natural goodness. Nelly continues with the story, saying that when Heathcliff realized it was Hindley who dropped his own son he expressed "the intensest anguish at having made himself the instrument of thwarting his own revenge," and even predicts that "had it been dark, I daresay he would have tried to remedy the mistake by smashing Hareton's skull." This depicts the side of Heathcliff that is cruel and devilish. However, by explaining that his natural response was good, Bronte implies that Heathcliff was turned evil by the horrible treatment he has received from Hindley.

Here, we see Heathcliff referred to as "it" 3 times in one sentence. As soon as Heathcliff enters the house as a small child, it is clear that the Earnshaws do not recognize his humanity. Their discussion of him as an "it" reminds me of the objectification that Fanny faced when she went to live with the Bertram's in Mansfield Park. Like Fanny, Heathcliff is thought of as an object not a person. This is even more obvious when he is later described as a "stupid little thing." In addition to being called "it," Mr. Earnshaw's instructions for the boy make it seem as though he is an animal: "was it, and give it clean things, and let it sleep with the children." It sounds as if they are discussing a stray puppy, not a young child. It is interesting that Nelly is instructed to "let" Heathcliff sleep with the other children. Sleep is a biological need and a right that everyone should have, but Heathcliff needs to be allowed to sleep.

This is an interesting way to end the poem because while it seems like a simple line, it encompasses an important theme of the poem: the pointlessness of war. Throughout the poem, Arnold points out the pain, suffering, and sadness present throughout human life. By ending the poem with this line, Arnold points out that war only makes these things worse. In a world where suffering is inevitable, why make it worse by participating in war? This is something that the soldiers do not seem to understand, which is why Arnold refers to them as "ignorant." They do not realize that they are contributing to the suffering of the world. By ending the poem by talking about war, Arnold is implying that war itself should be ended in order to lessen humanity's pain.

These lines are interesting because of the way they seem to think about death. "Mighty" is usually thought of meaning having a lot of power, so it is interesting that Hemans describes the dead as "mighty" since they are no longer able to enact their power. Also, Hemans description of a "high and stately pile" creates an odd image for the reader. "High and stately" are associated with dignity and majesty. In contrast, a pile of dead bodies, is gruesome and offensive. The juxtaposition of these two images turns readers' attention to the dead. Finally, she says this pile of the dead is "reared o'er Glory's bed." This is interesting because it begs the question: can only the dead be glorious? Do soldiers have to give their life to achieve glory?

For me, these lines mark a turning point in the poem. Before this, the poem is upsetting because it focuses on the injustice of the fact that this women is enslaved only because she is black. However, when she meets her lover the poem contains a glimmer of hope. As a reader, I was hoping that falling in love could bring some happiness to the women, and that perhaps her and her lover could even have a better life together someday. However, these lines crush even that small sense of hope. It is in these heartbreaking lines that we learn that her lover has been killed. She says, "we had no claim to love and bliss," indicating that all of her joy has been taken away. These lines signify that things will never get better for this enslaved woman; they will only get worse (and they do). They embody the feelings of despair and complete hopelessness that accompany slavery, forcing the reader to realize how horrible it truly is and rejecting any hope or justifications.

These lines are especially powerful because they compare the oppressed and enslaved people of Africa to "suffering infant[s]." The image of a newborn baby being torn away from its mother's breast is emotional and horrifying, invoking sympathy for the baby, and what it represents, the African people. Comparing the enslaved African people to a baby highlights the injustice of the situation. Like children, the people are innocent and do not deserve this abusive treatment. Furthermore, the metaphor of "hot, infectious air" representing oppression is also compelling. This description forces the reader to almost feel the weight of this horrible, disgusting air, thus exposing how horrible it feels to be oppressed.

This line of Mary's letter to Fanny is interesting because it embodies many of the themes of the novel that we've discussed thus far. Here, Mary talks about Henry's "value" to Fanny, reinforcing the idea that people are consistently objectified and commodified throughout the text. Henry, like Fanny and the rest of the young people in the novel, is valued based on the wealth and opportunities he could provide. Mary suggests that Fanny should marry him because of this "value," disregarding love and feelings. Also, Mary seems a bit condescending when she tells Fanny that Henry's value is something she "can have no conception of." This emphasizes the novel's insider/outsider theme because Mary is subtly reminding Fanny that despite her time in Mansfield and Henry's interest in her, she is still an outsider. Her outsider status is strengthened even more by the fact that she is home in Portsmouth with her poor family while reading this letter.

This line, Edmund asking for Fanny's advice and opinion, is important because it shows the depth and closeness of their relationship. Edmund is the only Bertram that treats Fanny like family. It also touches on the problematic nature of their relationship because his need for her approval and the following conversation seems to stretch beyond just a cousinly relationship. That fact that Edmund craves Fanny's approval is also interesting because he, as the stand-in patriarch of the family, has much more power and authority in society than her. One would think that she would seek his approval, not the other way around. However, the fact that he does want her advice displays that Edmund sees past the superficiality of the class system and recognizes that although Fanny is of a lower class, she has value and intelligence. Edmund is able to see something in Fanny that the rest of his family cannot.

In this first sentence of the novel, Austen describes Lady Bertram's marriage to Sir Thomas Bertram, but it is talked about in strictly mechanical and matter-of-fact terms, devoid of emotion. Austen points out how the marriage will benefit Lady Bertram in society, but love and passion are not mentioned. It seems like more of a business deal than a loving marriage. This emotionless and businesslike relationship foreshadows the dynamic of the Bertram family. As the novel goes on, we see the problems faced by the Bertrams, such as their oldest son Tom, who put the family into debt with his excessive spending. They are not a happy and loving family, but spoiled and rude. Perhaps Austen chooses to use such a critical and unemotional description of this marriage in the first sentence to act as a precursor to the notion that money and status does not necessarily translate to happiness and love. Just as this sentence lacks joy and passion, so does the Bertram family.

Earlier in the poem, the speaker declares that he has not been at Tintern Abbey in five years. In these lines, he describes the natural beauty that he sees "once again," implying that the landscape has not changed much. He enjoys the "steep and lofty cliffs" that he remembers from five years ago. The environment brings him a sense of peace and calm, just as it did five years ago. This is significant because it points to the timelessness of nature. Throughout the rest of the poem, the speaker discusses the passage of time and how it changes him from a boy to a man. Although time has a big impact on changing the speaker, it does not have the same effect on nature. This highlights a crucial difference between humans and the natural world: mortality.

These lines are a clear example of the speaker personifying autumn, as if the season is a woman. They create a mental image of a woman and her hair billowing in the wind. These lines are meaningful because they highlight the connection between women and the environment. The natural world is consistently described as feminine in literature. Personifying autumn as a woman in this poem is similar to personifying Earth as a "Mother." This connection is significant because it compares the oppression faced by both women and the environment, by patriarchy and industrialism.