Wuthering Heights by Silvia Plath Essay Example for Free

Wuthering Heights by Silvia Plath Essay  «Wuthering Heights » is a poem written by an American poet Sylvia Plath and is based on a novel of the same name by Emily Bronte. In order to convey her internal feelings of despair and disappointment, Sylvia uses a certain tone, structure, and a number of stylistic devises. Below is a descriptive analysis of how she manages to do so, and an interpretation of a poem’s meaning stanza by stanza. From the beginning of the first line, Sylvia Plath sets a depressive and negative tone to her poem. The horizons ring me like faggots†- is the first line of the poem, and yet it already suggests how desolate the place from where she looks at them is. With the use of personification â€Å"ring me† she creates an aural image of ringing, which enhances the solitude she experiences, as ears tend to ring in a silent place. Horizons are â€Å"titled and disparate†, where the word â€Å"disparate† echoes the word â€Å"despair†, in its turn implying that she is in a desperate emotional state. Through using a metaphor â€Å"touched by a match†, referring to the horizons, and saying that â€Å"they might warm me†, she not only acknowledges the reader of the coldness she feels, but also expresses hope that the horizons might warm her. However, the hope soon dissolves, along with the horizons in the last two lines of the poem- â€Å"But they only dissolve and dissolve, Like a series of promises, as I step forward†. Through repetition she enhances the bitterness she feels from the disappointment, and compares the warmth that was neglected to her, to the promises that were made to her but were never kept. The enjambment of the sentence structure between the last two lines is another proof to the possible connection between the horizons and promises. Such connection might mean that it is her allusion to her husband- a poet Ted Hughes that has not been loyal to her despite the vows given during their marriage. With the use of the word â€Å"me†, the readers become aware of the fact that Sylvia writes it in the first person inclusive and describes her own experience, which in its turns raises their feeling of compassion towards her and once again suggests that this poem might have been dedicated to her ex husband. With the following second stanza the tone of the poem becomes more depressing. By saying that â€Å"there is no life higher than the grasstops or the hearts of sheep†, she creates boundaries to the vastness of life, limiting and comparing its essence to that of a plant’s and an animal’s, leaving the humans out of the poem. The depressive mood degrades the tone and atmosphere to an extent of filling it with death and fatality. If Sylvia pays â€Å"the roots of the heather too close attention†, they will â€Å"whiten her bones among them†. The combination of the words â€Å"bones† and â€Å"white† in one sentence might suggest that the roots will bring her death; since the skin of a corpse turns white due to the lack of blood, and bones are the leftovers of a dead hence both are associated with mortality. As opposed to the first stanza, the second stanza takes her to a completely different place. Grasstops, sheep, the roots of heather- all surround her, whereas in the first stanza she is completely alone in a huge desolate space. The change in her surroundings suggests her movement across the moorland, but at the same time it points out the maintenance of her demoralized emotional state and the lack of a positive change about it. The tone of despair and loneliness is carried on to the proceeding stanzas, and is more evident in the last two. By saying that â€Å"Water limpid as the solitudes that flee through my fingers†, Sylvia shows the reader her abstract idea of being alone with the help of a consonance- â€Å"as- solitude† and â€Å"flee- fingers†. The â€Å"s† sound helps the reader imagine the literal hardness of solitude, as well as its transparency by being able to flow through her fingers with the â€Å"f† sounds. This in its turn indicates solitude’s double nature and Sylvia’s inability to neither control nor change it. In lines four and five Sylvia for the first time creates an image of nothing being straight- â€Å"hollow doorsteps go from grass to grass; lintel and sill have unhinged themselves†. By using the repetition â€Å"grass to grass†, she mimics the slowness of doorsteps’ steps, and personifies the doorsteps by giving them the ability to go. She also uses personification to describe how lintel and sill unhinge themselves, which once again reflects upon the presence of chaos and despair in her surroundings. By mentioning doorsteps, hinges and sills, she for the first time acknowledges the existence of humans in the past, and their current absence from the world that has been taken over by nature. The removal of all people but herself from the world not only enhances the bitterness she feels towards them, but also marks her egocentric nature as she is not willing to accept any advanced living thing but herself, preferring the nature instead. The fourth stanza ends with a repetition of the words â€Å"black stone, black stone†. As the air blows, Sylvia creates an aural image of the air moaning those words with the repetition technique, which slows down the speed of their pronouncement. At the same time, the air therefore is personified as it is given the ability to speak. This emphasizes the death and coldness present during the absence of life not only around her but also within her, as she is the only person that can hear the air say it. In the fifth, the final stanza of the poem the tone remains depressing and yet the ending suggests the possible appearance of hope. The paragraph begins with the reinforced idea of Sylvia being the only â€Å"upright† living thing- â€Å"The sky leans on me, me, the one upright among all horizontals†. Besides personifying the sky, she is also using the repetition â€Å"me, me† to stress the importance of being upright, and at the same time the solitude it brings her when everything else is horizontal. She then personifies the grass as it is â€Å"beating its head distractedly†, but it is also a contradiction since grass ought to be strong in order to survive in such cruel conditions. The fact that a grass beats its head may also reflect Sylvia’s unstable state of mind, which adds the feelings of compassion and grief to the atmosphere of the tone. Unlike other personifications that Sylvia Plath uses in this poem, the personification of a grass suggests her sympathy and familiarity towards it. She calls it â€Å"too delicate for a life in such company†, assuming that â€Å"darkness terrifies it†. This involvement with the description of what grass has to go through may imply that Sylvia describes her own life whilst comparing its hardship to that of a grass. The last two sentences are significant in a sense that Sylvia gives the reader a chance to decide whether the hope appears or does not. With the use of sibilance â€Å"black as†, she contrasts the blackness with the whiteness from the â€Å"light† that the house exerts. This is the first time she mentions the possible existence of human beings around her, and this raises hope as the â€Å"lights gleam like a small change† in the dreadful and dark surroundings. However, the presence of light may also mean that the rest of the world has fallen into absolute darkness, and the small light in the distance will soon die under its pressure. According to facts Sylvia Plath has committed suicide on February 11th, 1963 and this is when both interpretations undergo amalgamation to suggest that she may have had space for hope in her heart, but in reality her life was oppressing her to an extent of leading her life to a tragic end. According to the above analysis, the poem is written in the first person narrative where Sylvia gives a vivid image of her life hrough using literary devices to set the tone of despair and loneliness. Personally, I think Sylvia Plath communicates her internal troubles intensely and passionately. Through the description of landscape, the action of nature within it, the roles of colour and light- she is able to paint a picture of her life clearly enough for the reader to understand her message, and yet she disguises some aspects of the poem through imagery and metaphors to let the reader interpret and relate to the poem in a personal way. By introducing light into the poem, Sylvia twists the ending and confuses the reader, forcing him to reconsider his assumptions regarding the poem’s tone, meaning and the resolution. In case of Sylvia Plath’s life, the hope is lost in the end of it and annihilation takes over. However, because the poem lacks any names and includes the reader into it with the word â€Å"me†, the reader is left with his own imagination to decide whether the tone and the resolution take on a positive note, or fall into a greater despair.

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Bonds and Equities Defining Bonds and Equities Bonds are certificates of obligation or indebtedness, issued by governments and companies to raise funds repayable at interest over relatively long periods. Equities are investments exercised by purchasing a share in the ownership of a corporation; and are more commonly called stocks or shares (as in the stock market or share market). Bonds have a very favorable relationship with equities. Historically, when equity markets fell, bonds had gone up in value, partially offsetting the fall. When equity markets rise, interestingly, high quality bonds also tend to rise, although to a lesser extent. Therefore for an investor with equity portfolio wanting to reduce portfolio volatility or make the portfolio less susceptible to a fall in equity markets bonds are the most appropriate. Bonds generally pay a much higher income than high quality government and corporate bonds to compensate for higher risk. Similar to equities, bonds tend to perform best when economic growth is strong with low stable interest rates. In such an environment the ability of these companies to pay interest and repay their bonds on the maturity date is greatly enhanced. [Z. Bodie, 2000] Investment in bonds and equities, usually via stock-markets and other exchanges for financial instruments. So-called "portfolio investment" is usually relatively easy to re-sell; hence this type of investment can flow relatively easily into and out of a country's stock-markets. This can lead to volatility in share-prices and levels of capital availability. What’s the difference? Equities are shares listed on the stock exchange. Their prices are influenced by the underlying performance of the companies, the sectors in which they operate ... ...easures pertaining to the micro stability of the intermediaries can be subdivided into two categories; general rules on the stability of all business enterprises and entrepreneurial activities, such as the legally required amount of capital, borrowing limits and integrity requirements; and more specific rules due to the special nature of financial intermediation, such as risk based capital ratios, limits to portfolio investments and the regulation of off-balance activities. [White 1996] References Z Bodie, A Kane and A J Marcus. "Investments". 5th Ed. Irwin 2000. E J Elton and M J Gruber. "Modern Portfolio Theory and Investment Analysis". John Wiley 5th Edition 1995. White L., 1996, "International Regulation of Securities Markets: Competition or Harmonization?† in Lo A. (ed), The Industrial organization and Regulation of the Securities Industry, NBER, Cambridge

Psychological Mindsets in the Black Cat, My Last Duchess

The reality of life is that at some point it will all come to an end. End, one referencing it to when one is pronounced dead. Since death is unavoidable, we must take into account death because it is the finalization of our lives spent on this earth as well as an account of the way we left this world. There are numerous ways that one can leave this world, some die peacefully while others may die by force.The following will reveal the psychological mindsets concerning death as depicted in Poe’s â€Å"The Black Cat†, Browning’s â€Å"My Last Duchess†, and Dickinson’s â€Å"Because I could not Stop for Death†, and the ramifications of perverseness, pride, and eternity In â€Å"The Black Cat,† Poe uses perverseness to explain the narrator’s pursuit to murder Pluto, the black cat, and eventually his wife. The narrator had once loved animals, but alcoholism contributed to his change of temperament and irritableness, which led to the a buse of his pets and his wife.His reasoning for gouging Pluto’s eyes out, and then murdering the animal was because it loved him as he rejected it. The narrator had a sense of self-loathing and self-hatred that made him want to continue doing wrong to Pluto, which we identify to be: This spirit of perverseness, I say, came to my final overthrow. It was this unfathomable longing of the soul to vex itself-to offer violence to its own nature- to do wrong for the wrong’ssake only- that urged me to continue finally to consummate the injury I had inflicted upon the unoffending brute (Poe 138).After the death of Pluto, another cat who resembles Pluto, but with an added splotch of white fur becomes the narrators’ new pet, which fills the void of the narrator’s loss of Pluto. The new cat begins to disgust the narrator: â€Å"By slow degrees these feelings of disgust and annoyance rose into the bitterness of hatred†¦I came to look upon it with unutterable loa thing, and to flee silently from its odious presence, as from the breath of a pestilence†(Poe 140). The narrator doesn’t inflict harm on the cat for a while because it reminds him of Pluto and his evil deed.Although, the narrator feels shame and guilt he is not remorseful of his actions due to his perverse spirit because really: â€Å"Evil thoughts became my sole inmates-the darkest and most evil thoughts. The moodiness of my usual temper increased to hatred of all things and all of mankind†¦Ã¢â‚¬  (Poe 141). The narrator’s soul, which is full of madness and hatred, led him one day while his wife came with him to run some errands into the cellar, to attack the cat in rage. The cat had somehow made the narrator trip as he followed them into the cellar and this ignited fury from the narrator’s soul.His wife stopped his attempt to hit the cat with an axe and because of his wife’s actions, his madness shifted: â€Å"Goaded by the interference in to a rage more than demoniacal, I withdrew my arm from her grasp and buried the axe in her brain† (Poe 141). Poe uses the principle of perverseness in many of his other works as well as â€Å"The Black Cat† to portray: â€Å"To an ambiguous balancing of forces of attraction and repulsion (the seductive pull towards self destruction)† (Ketterer 28).This is the reason why the narrator’s perverse spirit caused him to murder with not much of a thought of remorse, but that he had committed a deadly sin, in which he found comfort in because what he was doing was leading him to his own self-destruction. Also, the narrator can be depicted as a victim to his mind, which led him to murder because when one reads Poe’s stories there tends to be an account where: â€Å"the imaging, then verbal expression create the fiend that overtakes the narrator’s reason†¦. ccording to the story’s analysis of the souls faculties, the human imagination crea tes a tangible, readily perceptible being† (Bieganowski 176-177). The narrator can be considered a victim, because the reader can sympathize that he is helpless and sick to the perverse spirit that becomes his nature. The narrator constantly in his mind goes through the continuous tugging between right and wrong and good and evil, till he finally wants it all to stop and in his mind, everything is distorted to do evil, in order to cease the tugging.In â€Å"My Last Duchess,† Browning uses the motive of pride to provide the Duke of Ferra’s reasoning for why he has his wife killed. In the beginning of the poem, the Duke of Ferra is addressing an ambassador, when he brings up a painting on the wall of his last Duchess. As his last Duchess is depicted, the Duke describes her as finding pleasure in the little things and not of the things he gave her. Furthermore she did not value his name nor admire him.By the start of the poem, the Duke of Ferra has shown his own ins ecurities about his last Duchess because he couldn’t control her and therefore the picture of her on the wall is now his dominance over her. As the duke talks of his Duchess, her actions in someway displeased him as she did a number of things wrong: â€Å"A heart-how shall I say? -too soon made glad, too easily impressed†¦somehow-I know not how-as if she ranked my gift of a nine-hundred-years-old name†(Browning 513). The Duke of Ferra is possessive, as well as arrogant and proud in nature.Due to his character and mania the Duke took everything his Duchess did as an offence because he wasn’t in control and so his pride led him to believe: Even had you skill in speech-which I have not-to make yourwill quite clear to such an one, and say you disgust me; hereyou miss, or there you exceed the mark-and if she let herself be lessoned so, nor plainly set her wits to yours, forsooth, and made excuse-even then would be some stooping; and I choose never to stoop (Brow ning 513).The Duke of Ferra justifies killing his wife before even mentioning that he has had her killed because in the Duke’s mind he see’s the Duchess’ smiles as incriminating. He thinks this because she didn’t just smile for him, but others as well, which is one of the jealousies that consumes him. The Duke’s jealous and possessive nature arouses his mania to be in complete control of a being, in this case his last Duchess. With all the Duke’s frustrations and concerns about his last Duchess off his chest and because of his own sense of pride for her to be what he wanted her to be: â€Å" I gave commands; then all smiles stopped together.There she stands as if alive† (Browning 513). The Duke refers to his last Duchess as standing there as if she was alive as a means to show his vain character. When the narrator looks at his last Duchess, he doesn’t just see in the painting the picture of her, but the painting is just another valued object, in which he is proud to possess. As pride is depicted for why the narrator went so far as to have his last Duchess murdered, the narrator’s actions can be self-evaluated to constitute the emotion of pride that overcame his judgment.With emotions there is more than the substantial basis to how one feels: â€Å"They are adaptive patterns of behavior arising from a person’s appraised relation to ongoing events†¦ beginning with appraisals of notable changes in an individual’s goals, motives, or concerns (Tangey and Fischer 65-66). From this explanation of emotions, the narrator adapted his sense of pride from his careful watch of his wife as more and more things that she did offended him. The narrator took into consideration every action his wife did from her smiles to her otal unawareness of the narrator’s notable name. Also from the explanation of emotions one can understand why the narrator didn’t simply just have his wife murd ered swiftly when he was displeased with her the first time. The narrator came to a gradual decision to have his wife murdered because of his emotions of pride and the sense of mania that grew from the displeasure of the ongoing events of his last Duchess, which lead him to believe what he couldn’t control, was a problem.Therefore, the narrator murders his wife due to the emotion of pride, which is defined: On the basis of a growing literature, we suggest that pride is generated by appraisals that one is responsible for a socially valued outcome or for being a socially valued person. Pride comprises action tendencies to present one’s worthy self or action to others such as a broad smile, beaming face, erect posture, celebratory gestures or comments, and comments that call attention to the self’s accomplishment. Internal reac-tions include increased heart rate and skin conductance as well as an erratic respiration.The subjective experience of pride involves an ex perience of one’s body or self as taller, stronger or bigger (Tangey and Fischer 66). In â€Å"Because I could not stop for Death,† Dickinson uses death to depict a seducing trip to eternity. From the first lines of the poem they predict the courteous and smooth passage from death to a place of eternity: â€Å" Because I could not stop for Death- He kindly stopped for me- the Carriage held but just ourselveles- And Immortality â€Å"(Dickinson 541). The Carriage driver is then depicted as being civil and courteous to the narrator.As the carriage driver is taking her closer and closer to death, the narrator passes childhood like memories till eventually they stop at her grave: â€Å"We passed the school, where Children strove at recess-in the Ring†¦we passed the Setting Sun- or rather-He passed Us†( Dickinson 541). Then the narrator describes what she is wearing, which is a gossamer, a tippet, and a tulle that shows she is under dressed because she begins to quiver and expresses the sudden chilliness. Then the carriage driver stops. One can imagine it’s a stop at the grave for we can conclude that the scenario is now darker and colder.The narrator uses the description of the house to depict the grave. The whole stop is the actual death of the narrator. The last stanza talks about the horse’s head that is pointed to eternity. This last part is in recognition that the narrator is guessing she’s headed towards eternity. We can infer that this whole experience for the narrator was a natural occurrence. We can also infer that since the carriage driver was courteous and civil, and created the whole attraction to death, that the narrator is going towards eternity.Furthermore since death for the narrator was a positive experience we can conclude that she will reach eternity. The occurrence of death in this story is linked to eternity. When one thinks of eternity it is a positive thought to what happens after our death. T herefore the whole experience of the carriage driver taking the narrator to her death had to symbolize the positive place that she would go next. This poem uses the seductive and attractive nature of the carriage driver to lure the narrator to her death, to the point where she doesn’t realize that she is dying because it came so naturally.The carriage driver is the male persona in this poem, because he creates a gentleman like approach to the narrator. To Dickinson death was an important part of many of her works. Emily Dickinson had an obsession for what happens after this life. This is one of the main inspirations for why most of Dickinson poems and stories revolve around death. This poem specifically â€Å"Because I could not stop for Death,† uses her ideology: â€Å" For Dickinson, thought does not stop just because death cannot or does not appear.Thus the thought-poem proceeds to â€Å"figure death out† in at least two ways, both of which rely on narrative ly precise imagery: one facing death†¦two the poet enacts through imagery the leap into the unknown of death† (Deppman 3). In â€Å"Because I could not stop for Death† Dickinson also uses: This category of personification carries two implications: first, that death becomes positive, becomes a thing or person and not an ab- sence or cessation, and second, that there is a relation of self to another beyond death (Death, the gentleman).All of the above maybe interpreted as strategies for a â€Å"creative† death-into-life approach (Nesteruk 28-29). Death was used in the stories of â€Å"The Black Cat,† â€Å"My Last Duchess,† and â€Å"Because I could not stop for Death†. The psychological mindset of death depicted in each story or poem explained why the narrator or the protagonist acted the way they did. In â€Å"The Black Cat,† Poe created a narrator whose perverse spirit led him to not only murder his cat, but his wife as well, in this mind debilitating circumstance where the narrator is leading a life towards self-destruction.In â€Å"My Last Duchess,† the Duke’s pride drove him to murder his last Duchess and possess her as a painting that he is proud to own. In â€Å"Because I could not stop for Death,† Dickinson uses a carriage drive to seduce the narrator towards her death, then eventually eternity. Works Cited Page * DiYanni, Robert. Literature: Approaches to Fiction, Poetry, and Drama. New York: McGraw-Hill, 2008. Print. * Ketterer, David. Edgar Allan Poe Life,Work, and Criticism. Canada: York Press, 1989. Print. * Tangey, June P. , and Fischer, Kurt W. Self-Conscious Emotions:The Psychology of Shame, Guilt. Embarrassment, and Pride. New York: 1995.Print. * Bieganowski, Ronald. â€Å"The Self-Consuming Narrator In Poe's â€Å"Ligeia† And â€Å"Usher. † American Literature 60. 2 (1988): 175. Academic Search Premier. Web. 23 Nov. 2012. * Nesteruk, Peter. â€Å"The Many Deaths of Emily Dickinson. † Emily Dickinson Journal 6. 1 (1997): 25-43. Project Muse. Spring 1997. Web. 28 Nov 2012. * Deppman, Jed. â€Å" Dickinson, Death, and the Sublime† Emily Dickinson Journal 9. 1 (2000):1-20. Print. * Schubert, Johan. â€Å" Between eternity and transience: On the significance of time in psycholoanalysis† 26 May. 2001. Web. 28 November. 2012 14 Research Paper English 1100C-7 Professor De Marco November 19, 2012

Why people choose religion - 882 Words

Why People Choose Religion One of the most debated ideas in the world is religion. There has been bloodshed in countries over religion. Religion is a sensitive topic to some people because it is the reason people live their lives like they do. What is the reason people really choose religion? Is it because they truly believe in every detail of a religion or is it because they were told to believe it? It is a question I have thought about for a long time. So, what is religion anyway? According to Dictionary.com, religion is a set of beliefs concerning the cause, nature, and purpose of the universe, especially when considered as a creation of superhuman agency or agencies, usually involving devotional and ritual†¦show more content†¦Greek Mythology was good teach valuable life lessons to everyone and there was a sense of right and wrong in the community then. No one wanted to go to â€Å"Hates†, which was hell. They all lived there lives to go to the heaven’s with Zeus, who was the ruler o f all God’s. The Greeks had no reason to believe otherwise. They had no answers for any of the things that happen so they had a belief for everything. Religion now is in many ways just like the Ancient Greek’s. Nearly every religion has a God or higher being that was the creator or everything and that we were put on the Earth to follow God’s rules so nothing will happen bad in our life after death. There are rules that God’s in religion’s now have that will bring you success in the afterlife just like theirs did. It seems almost as though religions now have been based from that. Some people just choose religion because they have grown up in it. They are told to believe it when they are young and grow up with their family and friends telling them that is what to believe. That is true in a lot of cases, but there are many people that convert religions too. It shows that people use their own minds and what they believe and what they can practice and have the most faith in. It is impossible to know who or what really made life and everything there is, but people have their beliefs on what they believe because of religion. It gives usShow MoreRelatedTeaching Religion and Science In Public Schools998 Words   |  4 Pagesthe subject is religion included. The basic curriculum is made in order to give students skills, knowledge, and to help develop the minds of the future. In science class, evolution is taught either briefly or detailed. It is taught because it is a popular theory that did not seem to choose a certain religion. So why believe that religion and science can be taught together? The evolution of Earth and the universe can be believed in any way an individual chooses. 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