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In this poem the central messagge is to not be heratless or callous in our life, because only if we help the next one we could life a meaningful life.

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In this poem there is a link between the abstract and the natural world.
It is an extended metaphor: The hope is represented by a bird who sings even in the most difficult situations and then it doesn't ask anything back.

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Notes:

Note to POL students: The inclusion or omission of the numeral in the title of the poem should not affect the accuracy score. It is optional during recitation.

Originally titled "'Hope' is the thing with feathers - (314)"

Emily Dickinson, "'Hope' is the Thing with Feathers" from The Complete Poems of Emily Dickinson, edited by Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University press, Copyright © 1951, 1955, 1979, 1983 by the President and Fellows of Harvard College. Reprinted by permissions of the publishers and Trustees of Amherst College.

Source: The Poems of Emily Dickinson Edited by R. W. Franklin (Harvard University Press, 1999)

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"Hope" is the thing with feathers by Emily... | Poetry Foundation

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Emiliy Dickinson was born in Massachusetts in 1830. She didn't have an eventuful life. She seclude herself in her father home because she was agoraphobic.
her poetry is a microcosm, build up from her metaphysical vision of the world. In her poems she express joyful feelings, but there is always a deep melancholy.
Her poems are short written in quatrains with a unusual syntax and a peculiar use of capital letters and punctuation.

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This piece of poetry is a hymn to nonconformity. The poet talks about two roads, one travelled by everyone, and another that seems almost new.
With his words he says that sometimes is better to travel long a new way that no one has used than travel over a road that everyone has traveled.

I Took the one less traveled by, And that has made all the difference.

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The Road Not Taken by Robert Frost | Poetry Foundation

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Robert Frost in considered the finest American poet. He lived a difficult life, he lost his father at the age of 11 and lived in the poverty for a long period. At the age of 38, in 1912, he moved to London where he met Ezra Pound who helped him to publish his poetry. Thanks to her he became famous and was honoured as a National Poet.
In his poems he talks about rural life where the characters, the settings and the languge has a metaphorical dimension.

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"Waiting for Godot" is the most important plays of Samuel Beckett.
In this work he describes a static world that never change, there isn't a plot and the story has a cirucular structure.
There is no time and the words are used only to fill the silence, but he preefers the non-verbal language.
The world he describes is also without superfluities, has only essentials things to highlight the tragic human condition.

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Samuel Beckett was the inventor of the Theatre of the Absurd. In his plays there is the description of human condition, which ends always with the two main topics: The Inability to communicate and loneliness.

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Spoon River Anthology and The Hill -Edgar Lee Masters

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Spoon River Anthology and The Hill -Edgar Lee Masters

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Spoon River Anthology is a collection of poems, all in the form of the epitaphs. He described the small town and presented it like a microuniverse where all care for each other.
This is underlined in the first poem "The Hill" where he talks about the people of the city and despite all their lives were different they share a common destiny.
Also Fabrizio de Andre made a song from this poem.

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Edgar Lee Masters was an American Author, he wrote at the begining narrative poems and then he changed to free verse. He is the voice of Provincial America; he celebrated the landscapes and the heritage of the Midwestern world.
All of this theme are presented in his main work "Spoon River Antohology".

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The Beat Generation was a literary movement started by a group of writers during the post-war era. They had some central elements, like freedom in life and in the narrative style as weel. They were influenced by Romanticism and French Surrealism. The name came from Kerouac, but for him the word "Beat" means different, because for him it was like "outcast" or "different" and it is strongly linked with Music.

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This is the cinematic adaptation of the novel "On the Road" written by Kerouac. In main theme of the film, and the novel as well, is the Journey trough America made by the protagonists. Is highlited in particular the Disilussion, the sense of loneliness and Lost that they feel. But is also showed how brilliant they are and how much wise they feels.

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Jack Kerouac is the leading figure of the "Beat Generation". In his novels he express a romantic anarchism, in particular in his best and famous work "On the Road".

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This cinematic adaptation of the novel "The Great Gatsby" written by Fitzegerald is really well made. With this film is examined the "Jazz Age Generation" and the failure of the "American Dream"

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Francis Scott Fitzgerald is the symbol of the "Jazz Age". In his works, in particular in "The Great Gatsby", he describes The new Amerian Generation build up without values and in a world made only by luxury and beauty.

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After the First World War, the tones of literature were dominated by disillusionment and dislocation. In this period Paris became che centre of the American Literature. The common images of this period were images of waste, sterility, and cultural and moral decline.

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This film Is the perfect representation of the world that George Orwell had imaginated.
The world where Truman lives is full of videocameras that follow him in everything he does. It is a fake world and The life Truman lives isn't real because everything is built before.
I liked this film because represent the real world as well, full of ipocrity and fake people and full of videocameras too.

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This film talks about Virginia Woolf and, in particular, her work "Mrs. Dalloway".
In this pelicula is well presented her conception of time, because also in the film a lot of time is dedicated to the Inner Analysis.
Also the link between life it is well done, because only in the end you understand all the connection between the lifes of every character.

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Ernest Hemingway is a writer who describes a world without value and every of his character  is disillusioned by life.
His style is called economical prose style, because it's very simple.
He wrote also about the war in his worK "Farewell to Arms"; it is very realistic because he partecipated in the WW1.

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Virginia Woolf is one of the most important writer of the 20th century. She suffered fro. depression and she thought that her art came from this feeling.
Every work she had written isn't wrote in the common ways: She refused the traditional plot and prefer the "stream of consciousness" technique.  She used the time in a new way, because she expand it to give more space for the inner analysis, she used the "time of the mind".

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This title came from the union of two other titles: "Hollow Land" and "Broken Man" by Kipling.
In this text Eliot represent his idea of man who is empty in the inside and walk without a reason in a dead land. There are many reference to Religion and christianity.

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Joyce is one of the most important writer of the Modernism Era. He is the first who used the "Stream of consciousness" technique and invented the "Epiphany". As the same as Eliot, Joyce talks about the theme of Paralysis.

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Thomas Eliot is the most important poet of the Modernism Era and the founder as well with his work "Waste Land". This work talks about the sterility of spirituality that Eliot had found in his contemporary due the I World War.

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Is a political fable. It's a parody of the Sovietic Revolution and for this he criticizes socialism. For him revolution aren't useful because will put people under new form of oppression.

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Is an Anti-Utopian Novel where a tyrannical power control people using thecnology. This tyrannical power is represented by "Big Brother" which is the symbol of the total control by mass media.

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He was an Anglo-Indian. He was poor and got Money to study only thanks to a scholarship. He decided to "escape" from imperialism and decided to refuse his upper class priviliges.

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This is a Powerpoint I've Made about Kipling and Rushdie.

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Is one of the most important writer who wrote about the colonization in India.
In his opera "Passage to India" he evidence the impossibility to mix the two culture (Indian and British) . He sees the imperialism a negative aspect because he wants equality.

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This is a representation of the Whitman's Poem in the film "Carpediem"

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Dead Poets Society | Oh Captain, My Captain

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This poem wrote by Nathaniel Hawthorne is a story about  love, sin, guilt and repentance.
Is a hystorical novel and the main theme is the internal conflict of a coscience.

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This text wrote by Owen talks about the horror of the war with a description of the death of one
of his companion and how the dead body is treated. It ends saying to not convince kids to try to get glory with war.
("The old Lie")

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Dulce et Decorum Est by Wilfred Owen | Poetry Foundation

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Bent double, like old beggars under sacks,

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This text wrote by Sassoon talks against women because them trying to found positive aspect to
the war, but the writer says that war is a tragedy without heroes.

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Glory of Women by Siegfried Sassoon | Poetry Foundation

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You love us when we're heroes, home on leave,

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This text wrote by Brooke talks about nationalism because he exalts England. He also represent
the soldier like a classical hero who died for his country.

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If I should die, think only this of me:

That there's some corner of a foreign field

That is for ever England. There shall be

In that rich earth a richer dust concealed;

A dust whom England bore, shaped, made aware,

Gave, once, her flowers to love, her ways to roam;

A body of England's, breathing English air,

Washed by the rivers, blest by suns of home.

And think, this heart, all evil shed away,

A pulse in the eternal mind, no less

Gives somewhere back the thoughts by England given;

Her sights and sounds; dreams happy as her day;

And laughter, learnt of friends; and gentleness,

In hearts at peace, under an English heaven.

Poetry Out Loud Note: This poem has had two titles: "The Soldier" and "Nineteen-Fourteen: The Soldier". The student may give either title during the recitation.

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The Soldier by Rupert Brooke | Poetry Magazine

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If I should die, think only this of me: That there's some corner of a foreign field That is for ever England. There shall be In that rich earth a richer dust concealed; A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam; A body of England's, breathing English air, Washed by the rivers, blest by suns of home.

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This text wrote by Whitman talks about people who are happy for the victory with not care about
their captain who "fallen cold and dead". The only sad is the writer.

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O Captain! my Captain! our fearful trip is done,

The ship has weather'd every rack, the prize we sought is won,

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring;

O the bleeding drops of red,

Where on the deck my Captain lies,

O Captain! my Captain! rise up and hear the bells;

Rise up-for you the flag is flung-for you the bugle trills,

For you bouquets and ribbon'd wreaths-for you the shores a-crowding,

For you they call, the swaying mass, their eager faces turning;

Here Captain! dear father!

This arm beneath your head!

It is some dream that on the deck,

You've fallen cold and dead.

My Captain does not answer, his lips are pale and still,

My father does not feel my arm, he has no pulse nor will,

The ship is anchor'd safe and sound, its voyage closed and done,

From fearful trip the victor ship comes in with object won;

Exult O shores, and ring O bells!

But I with mournful tread,

Walk the deck my Captain lies,

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O Captain! My Captain! by Walt Whitman | Poetry Foundation

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O Captain! my Captain! our fearful trip is done,

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This text wrote by Whitman talks about America with all the people who are singing corals.
Here Whitman intention was to create a image of an America based on honesty and work.

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I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off work,
The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing as he stands,
The wood-cutter's song, the ploughboy's on his way in the morning, or at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day-at night the party of young fellows, robust, friendly,
Singing with open mouths their strong melodious songs.

This poem is in the public domain.

Born on May 31, 1819, Walt Whitman is the author of Leaves of Grass and, along with Emily Dickinson, is considered one of the architects of a uniquely American poetic voice.

About Walt Whitman

This version of "I Hear America Singing" appeared in the 1867 edition of Walt Whitman's Leaves of Grass. The original version appeared as number 20 in the section titled Chants Democratic in the 1860 edition of Leaves of Grass.

Born on May 31, 1819, Walt Whitman is the author of Leaves of Grass and, along with Emily Dickinson, is considered one of the architects of a uniquely American poetic voice.

About Walt Whitman

When lilacs last in the door-yard bloom'd,
And the great star early droop'd in the western sky in the night,
I mourn'd-and yet shall mourn with ever-returning spring.

O ever-returning spring! trinity sure to me you bring;
Lilac blooming perennial, and drooping star in the west,
And thought of him I love.

2

O Me! O life! of the questions of these recurring,
Of the endless trains of the faithless, of cities fill'd with the foolish,
Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?)
Of eyes that vainly crave the light, of the objects mean, of the struggle ever renew'd,
Of the poor results of all, of the plodding and sordid crowds I see around me,

O Captain! my Captain! our fearful trip is done,
The ship has weather'd every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
But O heart! heart! heart!
O the bleeding drops of red,

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I Hear America Singing - I hear America singing, the varied carols I hear,

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This text wrote by Kipling talks about the mission of the colonizer, who have to civilize other population, and in the end Kilpling say that probably he would get killed because the other man aren't grateful and respectful.

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The Scarlet Letter 1995 Adaptation -Comment

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The Scarlet Letter 1995 Adaptation -Comment

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I Like this movie because represent in the best way possible the central idea of the book: Love, sin, guilt. The base of the story is the religion and this concept remain in the minds of the spectators with the Reverendo' Speech. I like also how the concept of the Values of the Puritans is rappresented due the settings (Forest, Campaign, ecc...)

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The 2009 adaptation Of Oscar Wilde's Opera is the most accurate and similar to the book.
The director tryed, succeeding, to make spectator understand the "evolution" (It's better say "regression") of Dorian, and made it using always more often, during the film, sentences hard and cruel.
So i really like this film despite i thing that didn't respect only the values of the Aesthetic movement.

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"De Profundis" -One of the greatest love letters ever written

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"De Profundis" -One of the greatest love letters ever written

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This Article talks about "De Profundis" wrote by Oscar Wilde during his life in prison. He wrote it using a ploy: He pretend to wrote a letter, but in the end he wrote this. It is in some way a letter to his lover -Douglas-, because here Wilde wrote like a discussion about things that he couldn't say in other time so he have to do this in that exact moment.
But in the end with this letter he accused Douglas to distract Oscar from his work and poetry.

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Early in 1895, while facing charges of indecency and wondering if he should abscond to France, Oscar Wilde had no idea what a two-year prison sentence would mean for him. Wilde's misfortune was to serve his sentence just before prison conditions were officially changed by the 1898 Prison Act.

In total isolation, first in Pentonville and Wandsworth, and then in Reading gaol, to which he was moved in November 1895, Wilde slept on a plank bed with no mattress. Allowed one hour's exercise a day, he walked in single file in the yard with other prisoners but he was not allowed to communicate with them. He could not sleep, he was permanently hungry and he suffered from dysentery. For the first month, Wilde was tied to a treadmill six hours a day, making an ascent, as it were, of 6,000 feet each day, with five minutes' rest after every 20 minutes. Towards the end of his sentence, the governor of the jail, Major Nelson, remarked to Wilde's friend Robert Ross: "He looks well. But like all men unused to manual labour who receive a sentence of this kind, he will be dead within two years." Wilde was later to praise Nelson, who had arrived at Reading in July 1896, as "the most Christlike man I ever met". Nelson was more liberal than his predecessor and was ready to relax the rules.

In January 1897, when Wilde still had more than four months still to serve, he and Nelson came up with an ingenious idea. While nothing in the prison regulations allowed prisoners to write plays or novels or essays, inmates had permission to write letters. Under the previous regime, Wilde had written to solicitors and the Home Office, or in limited quantities to friends, but his letters were inspected and the writing materials removed as he finished. But the regulations did not specify how long a letter should be. And if a letter were not finished, then the prisoner, it was supposed, could be allowed take it with him when he left the prison.

Thus Wilde, alone in his cell, was given pen and ink every day. What he wrote was removed each evening and then, it seems, handed back to him in the morning, or parts were given back to him to revise. Since "De Profundis" was in the form of a long letter, it would be his property when he was free. It took him three months, with much revision.

Wilde addressed his letter to Lord Alfred Douglas. On his release, he handed the manuscript to Ross, who had two typed copies made, one of which he sent to Douglas. In 1905 Ross published extracts from the text, and a fuller version in 1908. The complete version, however, was not published until 1949.

By the time he wrote "De Profundis", Wilde's love for Douglas had turned into a sort of bitterness, and the tone of his long letter manages to capture that bitterness as well as the extraordinary attachment he felt for Douglas. "De Profundis", it should be said, is neither fair minded nor consistent; it is, at times, bloated in its comparisons and its rhetoric. (Wilde, for example, compares himself to Christ.) But there is also a beautiful, calm eloquence, and a sense of urgency, of things being said because there might not be time or opportunity to say them in the future.

Wilde's old skill at paradox and phrase making was not there now merely to amuse his audience or mock his betters, but rather to kill his own pain and grief and attempt to communicate passionately and fiercely with his lover. He wrote not as art now, but as desperately serious matter.

"The only beautiful things," his character Vivian had told us in "The Decay of Lying", which Wilde wrote in 1890, "are the things that do not concern us." Seven years later, in his cry from the depths, he wrote of what most deeply concerned him: "If there be one single passage that brings tears to the eyes, weep as we weep in prison when the day no less than the night is set apart for tears." And then, in what is perhaps the most shocking sentence in the whole letter, he wrote: "The supreme vice is shallowness." Once upon a time it would have been, for him, the supreme virtue.

Wilde accused Douglas of distracting him from his art, of spending his money, of degrading him ethically, of constant scene-making, of deliberately and then thoughtlessly mistreating him. He went over Douglas's bad behaviour in matters large and petty, often citing dates and places and details. The tone was fluent and sweeping, full of carefully controlled cadence and measured elegance. But the difference between this tone and Wilde's carefully nurtured flippancy was astonishing. It was like a tenor becoming a baritone, with a new range and depth and a new attention to feeling, but the old skills and tricks with pitch and paradox still in place, despite his circumstances, or perhaps because of them.

The letter cannot be read for its accurate account of their relationship, nor taken at its word. While some of the accusations are true, others are petty and foolish. But that is not the point. "De Profundis" has neither the informality of a personal letter nor the distilled sound of a piece of imaginative writing. Its seductive, hurt and passionate tone places it in a category of its own. In all its urgency and ambiguous eloquence, it remains one of the greatest and most complex love letters ever written.

It is fascinating to witness the change that came over Wilde's imaginative procedures as he wrote. In the dim light of the prison cell and with the memory of his suffering fresh, it was as though he sought a new sort of tension between breathlessness and breath-control. He wrote long and highly wrought sentences, loving lists of adjectives and clever, Latinate diction and elaborate punctuation. To be followed by a pure, plain statement, full of the clipped sharp tone of the Anglo-Saxon.

"Of course I should have got rid of you," he wrote. The reader will want to know why he did not, and part of the power of the text comes from our knowledge that, once Wilde was released, despite all his bitter feeling, he and Douglas attempted to live together again and resume their relationship, to the horror of both Douglas's family and Wilde's wife.

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Colm Tóibín in the cell of Reading prison where De Profundis was written.

Until three years ago, Reading gaol, where Wilde served most of his sentence, was used as a place of incarceration for young offenders. The cells still have bunk beds, a small table and two seats riveted into the wall, and then, closer to the small window, a flush toilet hidden from view. The four corridors that make up each floor radiate from a central vantage point. Thus it is possible for one single member of staff to note any movement in the four corridors.

While the creepy cell interiors bear all the hallmarks of recent use, the corridors and the general atmosphere in the prison, which was built in 1844, make it easy to imagine what it might have been like for Wilde in 1895.

The place where floggings happened, for example, which Wilde evoked with such passionate shock in his letters to the Daily Chronicle on his release, is close to the yard where the prisoners could exercise, close enough for the victim's howls to be heard, as Wilde heard them in 1897. The cells that were used to house those condemned to death, evoked by Wilde in The Ballad of Reading Gaol, can still be visited. They are still part of the essential fabric of the place.

Wilde was not prepared for prison, and did not, in his heyday, dream that he would spend two years in jail. In "The Decay of Lying", he had mocked the writer Charles Reade for "a foolish attempt to be modern, to draw public opinion to the state of our convict prisons". In 1882, during a tour of America, when he visited a penitentiary in Nebraska, he wrote about the prisoners: "They were all mean looking, which consoled me, for I should hate to see a criminal with a noble face."

When he found that a prisoner due to be hanged in Nebraska was reading a novel by Charlotte M Yonge called The Heir of Redclyffe, Wilde remarked: "My heart was turned by the eyes of the doomed man, but if he reads The Heir of Redclyffe it's perhaps as well to let the law take its course." But when he found a volume by Dante in another cell, he wrote: "Strange and beautiful it seemed to me that the sorrow of a single Florentine in exile should, hundreds of years afterwards, lighten the sorrow of some common prisoner in a modern gaol."

The cell where Wilde wrote "De Profundis" is filled with a sense of those who recently suffered there, but the view of the sky from the small window and the heaviness of the door as it closes behind you bring back how one of the great spirits of his age was broken in body and soul in this space, and then restored to some dark approximation of life by being given pen and paper so that he too could lighten his sorrow, or make it matter more, by producing something as strange and beautiful as "De Profundis".

* An exhibition, Inside - Artists and Writers in Reading Prison, is at the prison from 4 September to 30 October. Colm Tóibín will read "De Profundis" in its entirety on 16 October. artangel.org.uk/inside.
Topics

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Oscar Wilde's De Profundis - one of the greatest love letters ever written

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Early in 1895, while facing charges of indecency and wondering if he should abscond to France, Oscar Wilde had no idea what a two-year prison sentence would mean for him. Wilde's misfortune was to serve his sentence just before prison conditions were officially changed by the 1898 Prison Act.

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Top 10 Notes about: The Picture of Dorian Grey

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Top 10 Notes about: The Picture of Dorian Grey

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This is a little video about the main features about "The Picture of Dorian Gray".

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Top 10 Notes: The Picture of Dorian Gray

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The Potrait Of Dorian Gray Favourite Adaptation

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The Potrait Of Dorian Gray Favourite Adaptation

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I really like this one because i think that it represent in the better way the aesthetic movement becauseof  the strong color that was used, despite the story is setted in the modern era.
If I have to decide for the way the story is presented i must decide the adaptation of the 1945.

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Trailer - THE PICTURE OF DORIAN GRAY (2004, Josh Duhamel)

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In this poem Oscar Wilde decided to transform that suffering experience in art.
He explains the reality of the prison and criticizes the society and the church of his time in the typical aesthetic style.

"Suffering is one very long moment"
-Oscar Wilde

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Oscar Wilde begins his prison meditation, De Profundis, with an aphorism, not the light and witty kind for which his plays are famous, but one which resonates with bleak experience: "Suffering is one very long moment." Having reached the turning point in his despair, the disgraced writer goes on to set out his plan for transforming that experience into a different kind of art and a new kind of life, borrowing Dante's title La Vita Nuova for his own projected resurrection. The Ballad of Reading Gaol, this week's choice, is the fulfilment of that plan.

Wilde wrote the poem in 1898. He was now free, but a broken man, and a broke one. Besides two letters, he produced nothing else of literary significance before his death. It was first published simply under his prisoner identification number, C.3-3.

The poem is dedicated to the memory of the "sometime" Royal Horse Guards trooper, Charles Thomas Wooldridge, and the central incident is Wooldridge's execution for the murder of his wife. Around this narrative core, whose genre might be described as gothic realism, Wilde builds a meditation on the paradoxes of morality. The Ballad is an indictment of the death penalty and the whole penal system, but it is much more than a protest poem. It is a revelation, and its structure is part of that revelation.

Everyone can quote the refrain: "For each man kills the thing he loves." Poetically, it's unquestionably powerful, and, intellectually, it's powerfully questionable. What does Wilde mean? Perhaps he is saying that love itself corrupts or alters its object. That would certainly seem to have been true of his relationship with "Bosie", Lord Alfred Douglas, seemingly a spoiled brat further spoiled by Wilde's adulation. Judas, of course, is on his mind: the poem refers to the kiss of Caiaphas, the latter being the priest who participated in Christ's betrayal.

Wilde loved paradox, and he found some essential symbol of it in the man who murdered his wife. Perhaps he found another in the hypocrisy of the prison system itself, destroying the souls and bodies of those it would reform. The ballad form, as he adapts it, encases paradox and story in a tight, encircling ring. It is both a Dante-esque circle of hell and the deadly routine of prison life. It represents the whole cycle of crime and punishment. It is inescapable, like the "iron gin" mentioned in line 173, a symbol of confinement and possibly also an actual machine.

In the plodding iambic tetrameter and the extensive use of refrain and parallelism, we can feel at a physical level the grinding relentlessness of prison work. The tasks Victorian prisoners were set were part of their punishment. They would pedal a treadmill with their feet, for example, and though some prison treadmills were geared to grind corn or raise water, others had no use but to enslave. Then there was the nasty business of oakum picking, a task of unravelling the twine of old tarred ropes salvaged from ships. Wilde had worked at this until his fingers bled.

In De Profundis he depicts Christ as a poet, with "an intense and flame-like imagination", and describes Christian morality as "all sympathy". The sincerity of Wilde's drama of self-regeneration has sometimes been questioned and there is no doubt a certain posturing: if Christ is poet-like, this suffering poet, he seems to hint, is Christ-like. But the central charge of the Ballad is sympathy, sympathy with the condemned man and his fellow inmates. One tiny revision tells us a lot. The last two lines of stanza 41 originally read: "And I trembled as I groped my way/ Into my numbered tomb." In the second version, the shift from first to third person indicates that effort of sympathy.

Sympathy enables Wilde to remember vivid details and evoke collective feelings. The poem's hellish truthfulness raises it beyond its occasional rhetorical flaws, its purple passages. Suffering is not guaranteed to produce great art, or great humanity. However, there is no doubt that Wilde, the self-dubbed "lord of language", turns his awful humiliation to triumph in the Ballad, and attains a new poetic and moral stature.

There's only room for a short extract, but you can read the whole poem here:

With slouch and swing around the ring
We trod the Fools' Parade!
We did not care: we knew we were
The Devils' Own Brigade:
And shaven head and feet of lead
Make a merry masquerade.

We tore the tarry rope to shreds
With blunt and bleeding nails;
We rubbed the doors, and scrubbed the floors,
And cleaned the shining rails:
And, rank by rank, we soaped the plank,
And clattered with the pails.

We sewed the sacks, we broke the stones,
We turned the dusty drill:
We banged the tins, and bawled the hymns,
And sweated on the mill:
But in the heart of every man
Terror was lying still.

So still it lay that every day
Crawled like a weed-clogged wave:
And we forgot the bitter lot
That waits for fool and knave,
Till once, as we tramped in from work,
We passed an open grave.

With yawning mouth the horrid hole
Gaped for a living thing;
The very mud cried out for blood
To the thirsty asphalt ring:
And we knew that ere one dawn grew fair
Some prisoner had to swing.

Right in we went, with soul intent
On Death and Dread and Doom:
The hangman, with his little bag,
Went shuffling through the gloom:
And each man trembled as he crept
Into his numbered tomb.
Topics

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Poem of the week: The Ballad of Reading Gaol

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Oscar Wilde begins his prison meditation, De Profundis, with an aphorism, not the light and witty kind for which his plays are famous, but one which resonates with bleak experience: "Suffering is one very long moment."

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This is a Powerpoint made by me where there is the important things about the book "The Picture of Dorian Gray", which i have read previously. Here there is also my favourite quote of the book.

“I don't want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them.”
-Oscar Wilde, The Picture of Dorian Gray

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This is a Powerpoint made by me where there is all the things that I and my class studied about Oscar Wilde. Here there is also my favourite quotation, I like it a lot because represent in a true way how a pessimist think and i know it because I'm little pessimist too.

“A pessimist is somebody who complains about the noise when opportunity knocks.” -Oscar Wilde

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This opera written by Charles Dickens represent the hard life of a little boy, Oliver Twist, who have an angelic character. His story represent the Life of boy and girls without a family in London and what they have to do to survive.

"Please, sir, I want some more." -Oliver Twist

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Coketown is the city of the Charles Dickens' poem Hard Times. This city represent the industrialized city of that time. In this description Dickens use a lot of irony, similies, and  metaphors to make people understand the sense of alienation of the workers, and to move a critic to the City, the Religion, and
School.

"The same work, and to whom every day was the same as yesterday and tommorow."

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It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but as matters stood it was a town of unnatural red and black like the painted face of a savage. It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of buildings full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down like the head of an elephant in a state of melancholy madness. It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and tomorrow, and every year the counterpart of the last and next.

Era una città di mattoni rossi o di mattoni che dovevano essere tali se il fumo e la cenere lo avessero permesso ma in realtà era una città di un rosso e di un nero innaturale come il viso dipinto di un selvaggio. Era una città di macchinari e di alte ciminiere; dalle quali interminabili serpenti di fumo si susseguivano senza interruzione, non finivano mai di srotolarsi. C'era un canale nero, un fiume purpureo che scorreva con una tintura maleodorante e enormi pile di costruzioni piene di finestre dove c'era un tintinnio e un tremore tutto il giorno e dove il pistone della macchina a vapore lavorava monotonamente su e giù come la testa di un elefante in uno stato di malinconica pazzia. La città conteneva molte strade larghe tutte uguali l'una all'altra e piccole strade sempre uguali l'una all'altra, abitate da persone tutte uguali e simili l'una all'altra che uscivano e rientravano alla stessa ora con lo stesso suono, sugli stessi marciapiedi per fare lo stesso lavoro e per le quali tutti i giorni erano come ieri e domani ed ogni anno la copia dello scorso e del prossimo.

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It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but as matters stood it was a town of unnatural red and black like the painted face of a savage.

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Charles Dickens is the most important poet from the Victorian Age. He had a pessimistic vision of life probably due from his real life exprience, which also inspire him to write his works. In this operas he present the society of that time, characterized by poverty, social injustice, crime, with a point of view of the children (Ex. Oliver Twist), and this happen in a really realistic way.

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The Victorian Age takes this name from Queen Victoria, who ruled at that time. In this period The British Empire was becoming increasingly important, bacause of the Colonization and the Industiral Revolution, and both made the British think they were the best and could do everything.
This age is also characterized by Povert, an important theme on wich poet will dwell.

"The Sun will never set on us" Queen Victoria

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I Wandered lonely as a cloud is a composing of the poet William Wordsworth.  Here the poet is alone walking through the countryside, when he stops due the vision of the daffodils (Personification), and admire the nature aroud him.
In the last part there is the example about how the poetry is created.

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I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze.

Continuous as the stars that shine

And twinkle on the milky way,

They stretched in never-ending line

Along the margin of a bay:

Ten thousand saw I at a glance,

Tossing their heads in sprightly dance.

The waves beside them danced; but they

Out-did the sparkling waves in glee:

A poet could not but be gay,

In such a jocund company:

I gazed-and gazed-but little thought

What wealth the show to me had brought:

For oft, when on my couch I lie

In vacant or in pensive mood,

They flash upon that inward eye

Which is the bliss of solitude;

And then my heart with pleasure fills,

And dances with the daffodils.

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I Wandered Lonely as a Cloud by William Wordsworth | Poetry Foundation

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Ode to a Nightingale is a composing of the poet John Keats, here he discuss about the difficulty to create poetry due to industrial revolution, which make people more selfish, and the poetry could be the only things to escape from this reality.

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John Keats Ode to a Nightingale final poem in Bright Star

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And this is one of the most important scene, where Fanny react to the death of Keats

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Bright Star - Fanny's reaction to John Keats' death (I do not own the rights to this movie)

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This is the ending of the film.

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This are some of the scenes of the Film Bright star, which talks about the love between Keats and Fanny.

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This is a Powerpoint i have made to make a scheme about the romantic poet we have studied in our english course.

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William Wordsworth is one of the most important poet for the Romanticism, in fact he is considered the father of this literary genre in England.

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Bright Star is a composing of John Keats and talks about the impossible love of the poet to a girl. The themes are: Death (He had tuberculosis), Solitude (He is like an hermit, and this has a religious connotation), and the love is repesented in a sensual way (“ Pillow'd upon my fair love's ripening breast, To feel for ever its soft fall and swell”)

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"Bright star, would I were stedfast as thou art" by John Keats

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Bright star, would I were stedfast as thou art-

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Ozymandias is a composing of  the poet Percy Shelley, this talks about a statue of a Pharaoh Ramses II, a very rude and conceinted commander who still in the art is remembered in this way (“The hand that mocked them, and the heart that fed”). The themes are: Death, Pride (Kings of Kings) and the role of poetry, art and culture, because the power disappear despite the attempts but the poetry is immortal (Resumes Shakespeare and Foscolo)

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Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those…

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This is one of my favourite scene, because we can see all the regret and the pain of Heathcliff, who tried in every way to get Catherine love, but was everything useless because Catherine herself refuse to listen to her heart.

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Wuthering Heights(1992)-Why did you betray your own heart,Cathy?

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The novel Wuthering Heights was written by Emily Bronte and talks about a complicated love story between Catherine and Heathcliff a foundling.

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William Blake was a famous poet, painter and engraver of the late 18th century, he was also a radical anti-authority figure.

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Early Romantic si a cultural movement in Europe associated to Emotion and inner analysis. In art is associated with landscapes.

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Written by Thomas Gray, This is one of the most important elegy of English Language, because it doesn't represent a peculiar setting of the elegy, but present a normal and poor country.

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elegy
      written in a country churchyard

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Thomas Gray Archive : Texts : Poems : Elegy Written in a Country Churchyard

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The Thomas Gray Archive is a collaborative digital archive and research project devoted to the life and work of eighteenth-century poet, letter-writer, and scholar Thomas Gray (1716-1771), author of the acclaimed 'Elegy Written in a Country Churchyard' (1751).

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I agree in part with this sonnet, because i think that roving every day is only a wat to waste your time and you can use it in a better way, but sometime you have to do this because is also important to stay with friends and have fun with them.

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So We'll Go No More a Roving by Lord Byron... | Poetry Foundation

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This is a interesting article I have found about the science of the human body in relate with Frankenstein, and how Mary Shelley anticipated some of them.

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The bicentenary of the publication of Mary Shelley's Frankenstein: or the Modern Prometheus has meant a lot of people are re-examining this brilliant work of science fiction. My particular interest is the science fact behind the science fiction. How much real science influenced Mary Shelley? Could a real-life Victor Frankenstein have constructed a creature?

In terms of the technical aspects of building a creature from scraps, many people focus on the collecting of the raw materials and reanimation stages. It's understandable as there are many great stories about grave-robbers and dissection rooms as well as electrical experiments that were performed on recently executed murderers. But there quite a few stages between digging up dead bodies and reanimating a creature.

The months of tedious and fiddly surgery to bring everything together are often glossed over, but what virtually no one mentions is how difficult it would have been to keep the bits and pieces in a suitable state of preservation while Victor worked on his creation. Making a monster takes time, and bodies rot very quickly.

Preservation of anatomical material was of huge interest when Frankensteinwas written, as it is now, though for very different reasons. Today the interest is in preserving organs and tissues suitable for transplant. Some individuals even want to cryogenically freeze their entire body in case future scientists are able to revive them and cure whatever disease caused their original death. In that respect the aims are not so different from what the fictional Victor Frankenstein was attempting two hundred years ago.

At the time Frankensteinis set, the late 18th century, few people were really thinking about organ transplant. Instead, tissue preservation was of concern for anatomy professors who wanted to maintain collections of interesting, unusual or instructive specimens to use as teaching aids for future students.

In the 18th century preservation was mostly of concern to those collecting of interesting, unusual or even abnormal specimens to use as teaching aids. Photograph: Everett/REX/Shutterstock

The aim was to halt the decay process whilst maintaining specimens as close to their original appearance as possible. Several techniques were employed and a lot of improvisation. Flesh was dissolved from bones in macerating tubs to preserve skeletons. Skin and nerves were dried out on huge boards. Macerating tubs were often located well away from other buildings to keep away rats and the worst of the smell. Space in dissecting rooms was limited so at the university in Dublin, for example, drying boards were located on the roof for lack of a better alternative.

To preserve soft tissues, various substances were injected into or used to coat or soak the dissected specimen. The substance in question had to be toxic enough to destroy mould and bacteria that could decompose the sample, but not corrosive or damaging to the tissues of the specimen itself.

Substances such as turpentine, mercury metal and mercury salts (which are even more toxic than the pure element) were all employed stop the decay process in its tracks. Killing off bacteria and mould means that some vital process within them has been stopped; however, many processes that are critical to mould and bacteria are also necessary for humans, making these substances toxic to us.

Working in cramped, poorly ventilated conditions with minimal regard for health and safety, the substances anatomical curators were using day in and day out took a serious toll on their health. Anatomical curators were described as emaciated, prematurely aged and with a hacking cough. More experienced technical staff warned of the dangers of letting new students experiment with highly toxic solutions of mercury salts that could easily prove lethal.

One of the most successful techniques for tissue preservation was bottling in alcohol. The process was more complicated than dunking a specimen in a jar of prosecco and securing a lid, but at least the alcohol was considerably less toxic than some of the alternatives.

Alcohol in high concentrations certainly kills bugs, which is why it is used in hand-gels, but the concentration has to be just right. Too little alcohol and mould can grow. Too much and the alcohol will denature the specimen, giving skin and tissue a corrugated appearance. The optimum level was found to be about the same as in whisky.

Mary Wollstonecraft Shelley was one of the few people thinking about organ transplantation in the 19th century, let alone in the 18th century when Frankenstein is set. Photograph: Hulton Archive/Getty Images

In the 18th century the University of Edinburgh handed over twelve gallons of whisky annually to the anatomy museum for the preservation of specimens. Possible not all of those twelve gallons made it into the specimen jars. The nature of the curator's work - the smell, the problems with vermin and toxic fumes - must have made the odd sip of whisky very tempting. Indeed, more than one curator was dismissed for being drunk on the job.

Shelley described Frankenstein working in a small attic room using candlelight to illuminate his work. Small rooms, toxic vapours, alcohol fumes and naked flames are not a healthy combination. No wonder Shelley wrote the work took such a toll on Frankenstein's health.

Even if he managed to overcome these hazards, the fictional Frankenstein would have had to considerably adapt many of the techniques that had been developed in the 18th century. The anatomical curators were undoubtedly extremely extremely proficient, to the extent that some examples of their work survive to this day. But these curators were preserving their specimens indefinitely. What none of them were expecting was for their specimens to be incorporated into a creature and reanimated.

Another possibility for preservation is to cool samples, but Shelley was writing long before refrigeration or cryogenics. Even though it was well known that cooling perishable items would keep them fresh for longer, lugging the quantities of ice Frankenstein would have needed to the top of a staircase simply wasn't practical.

Shelley created a truly brilliant scientist who perhaps had found a method of preservation that enabled all the basic physiological functions to be restarted. Alternatively he may have found a method of reversing the inevitable damage from 18th century preservation techniques. This level of expert knowledge still eludes us today but would be of huge benefit to health and prolonging life.

Current methods of tissue preservation would certainly help those aspiring to be modern day Frankensteins. However, there are still a few technical hurdles to overcome before you can become the proud creator of your own living, breathing creature. Tissue matching, the staggeringly complex surgical techniques needed to assemble everything, as well as the small detail of giving life to your creation are just a few things to consider before you embark on your own DIY monster project.

There are certain ethical considerations too. Shelley's Frankenstein may have been a brilliant scientist but it was the lack of care he showed his creature that was his ultimate downfall. We can all learn from Frankensteinabout the care owed to our fellow creatures.
Katherine Harkup's latest book Making the Monster: The Science of Mary Shelley's Frankenstein is published by Bloomsbury.

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How to make a monster: what's the science behind Shelley's Frankenstein?

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A look at the problems Victor Frankenstein would have faced, from preservation of tissue to developing new surgical techniques

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FireShot Capture 24 - Bubbl.us - FRANKENSTEIN - https___bubbl.us_9605677

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I Really like this scene because here,you can see the ambitious of the doctor Frankenstein and the pain and agony of him, when he saw which is the prize of someone who tried the impossible just go against the real way of life goes.

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Mary Shelley's Frankenstein (1994) - Bride Elizabeth

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Mary Shelley was born in 1797, she was the daughter of a radical philosopher and of the pioneer feminist, so she grew up with particular but right ideal. She stabilized in Geneva and in that time she wrote Frankenstein in anonymous.
She died in 1851.

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Mary Shelley - Official Trailer I HD I IFC Films

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I really like this, beacuse is a new way to see the classic story of Frankenstein with a big use of action and special effects unusually in a film like Frankenstein

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This is a modern version of Robinson Crusoe, i've watched this and i really liked how it is presented. This is a scene.

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Frankenstein, written by Mary Shelley, is one of the most popular romantic tale always retold in books and films. You can notice two factor: The effect of science and the macabre elements of Gothic Tales. Is a really fantastic book with a story which became a classic and every one know.

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The Gothic Novel is usually associated with a dark style which uses picturesque settings and mysteries to create suspance and a creepy atmoshpere.

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Terrible work : when do you think to update your portfolio? no care about your language and literature learning, no self-regard, no respect for your teacher 's job , really sorry!

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Daniel Defoe is believed to be the father of the novel with his fantastic work Robinson Crusoe

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John Milton was a great English writer of the 17th Century he was also a great believer in liberty and his most important work was Paradise Lost.

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This page is devoted to my pictures ofthe new Globe Theatre in London, England

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Everthing you need to know to read Frankenstein

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Everthing you need to know to read Frankenstein

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Everything you need to know to read "Frankenstein" - Iseult Gillespie

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In 1815, Lord Byron proposed a challenge to a few literary guests he had gathered in his house on Lake Geneva: Who could write the most chilling ghost story? This question sparked an idea in eighteen-year-old Mary Shelley who, over the next few months, crafted the story of "Frankenstein."

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I really loved this sonnet because it is controversial and isn't like the others, but in its originality represents the real woman with her merits and defects.

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But, lo! from forth a copse that neighbours by,
A breeding jennet, lusty, young, and proud,
Adonis' trampling courser doth espy,
And forth she rushes, snorts and neighs aloud;
     The strong-neck'd steed, being tied unto a tree,
     Breaketh his rein, and to her straight goes he.

Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven's thunder;
     The iron bit he crushes 'tween his teeth
     Controlling what he was controlled with.

His ears up-prick'd; his braided hanging mane
Upon his compass'd crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:
     His eye, which scornfully glisters like fire,
     Shows his hot courage and his high desire.

Sometime her trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say, 'Lo! thus my strength is tried;
     And this I do to captivate the eye
     Of the fair breeder that is standing by.'

What recketh he his rider's angry stir,
His flattering 'Holla,' or his 'Stand, I say?'
What cares he now for curb of pricking spur?
For rich caparisons or trapping gay?
     He sees his love, and nothing else he sees,
     Nor nothing else with his proud sight agrees.

Look, when a painter would surpass the life,
In limning out a well-proportion'd steed,
His art with nature's workmanship at strife,
As if the dead the living should exceed;
     So did this horse excel a common one,
     In shape, in courage, colour, pace and bone

Round-hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head, and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:
     Look, what a horse should have he did not lack,
     Save a proud rider on so proud a back.

Sometimes he scuds far off, and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a race he now prepares,
And whe'r he run or fly they know not whether;
     For through his mane and tail the high wind sings,
     Fanning the hairs, who wave like feather'd wings.

He looks upon his love, and neighs unto her;
She answers him as if she knew his mind;
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,
     Spurns at his love and scorns the heat he feels,
     Beating his kind embracements with her heels.

Then, like a melancholy malcontent,
He vails his tail that, like a falling plume
Cool shadow to his melting buttock lent:
He stamps, and bites the poor flies in his fume.
     His love, perceiving how he is enrag'd,
     Grew kinder, and his fury was assuag'd.

His testy master goeth about to take him;
When lo! the unback'd breeder, full of fear,
Jealous of catching, swiftly doth forsake him,
With her the horse, and left Adonis there.
     As they were mad, unto the wood they hie them,
     Out-stripping crows that strive to over-fly them.

     I prophesy they death, my living sorrow,
     If thou encounter with the boar to-morrow.

"But if thou needs wilt hunt, be rul'd by me;
Uncouple at the timorous flying hare,
Or at the fox which lives by subtlety,
Or at the roe which no encounter dare:
     Pursue these fearful creatures o'er the downs,
     And on they well-breath'd horse keep with they hounds.

"And when thou hast on food the purblind hare,
Mark the poor wretch, to overshoot his troubles
How he outruns with winds, and with what care
He cranks and crosses with a thousand doubles:
     The many musits through the which he goes
     Are like a labyrinth to amaze his foes.

"Sometime he runs among a flock of sheep,
To make the cunning hounds mistake their smell,
And sometime where earth-delving conies keep,
To stop the loud pursuers in their yell,
     And sometime sorteth with a herd of deer;
     Danger deviseth shifts; wit waits on fear:

"For there his smell with other being mingled,
The hot scent-snuffing hounds are driven to doubt,
Ceasing their clamorous cry till they have singled
With much ado the cold fault cleanly out;
     Then do they spend their mouths: Echo replies,
     As if another chase were in the skies.

"By this, poor Wat, far off upon a hill,
Stands on his hinder legs with listening ear,
To hearken if his foes pursue him still:
Anon their loud alarums he doth hear;
     And now his grief may be compared well
     To one sore sick that hears the passing-bell.

"Then shalt thou see the dew-bedabbled wretch
Turn, and return, indenting with the way;
Each envious briar his weary legs doth scratch,
Each shadow makes him stop, each murmur stay:
     For misery is trodden on by many,
     And being low never reliev'd by any.

"Lie quietly, and hear a little more;
Nay, do not struggle, for thou shalt not rise:
To make thee hate the hunting of the boar,
Unlike myself thou hear'st me moralize,
     Applying this to that, and so to so;
     For love can comment upon every woe."

Come unto these yellow sands,
   And then take hands:
Court'sied when you have, and kiss'd,--
   The wild waves whist--
Foot it featly here and there;
And, sweet sprites, the burthen bear.
   Hark, hark!
      Bow, wow,
   The watch-dogs bark:
      Bow, wow.
Hark, hark! I hear
The strain of strutting chanticleer
Cry, Cock-a-diddle-dow!

                         --fromThe Tempest

Tell me where is Fancy bred, Or in the heart or in the head? How begot, how nourishèd? Reply, reply. It is engender'd in the eyes; With gazing fed; and Fancy dies In the cradle where it lies. Let us all ring Fancy's knell: I'll begin it,--Ding, dong, bell! All. Ding, dong, bell! --from The Merchant of Venice Where the bee sucks, there suck I: In a cowslip's bell I lie; There I couch when owls do cry. On the bat's back I do fly After summer merrily: Merrily, merrily, shall I live now, Under the blossom that hangs on the bough. -from The Tempest

Lord Amiens, a musician, sings before Duke Senior's company
  Blow, blow, thou winter wind,
  Thou art not so unkind
      As man's ingratitude;
  Thy tooth is not so keen,
  Because thou art not seen,
      Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
  Then, heigh-ho, the holly!
      This life is most jolly.

  Freeze, freeze, thou bitter sky,
  That does not bite so nigh
      As benefits forgot:
  Though thou the waters warp,
  Thy sting is not so sharp
      As friend remembered not.
Heigh-ho! sing . . .

Eenee Menee Mainee Mo!
-Rudyard Kipling, "A Counting-Out Song,"
in Land and Sea Tales for Scouts and Guides, 1923

           The woman with cheerleading legs
has been left for dead. She hot paces a roof,
four days, three nights, her leaping fingers,
helium arms rise & fall, pulling at the week-
old baby in the bassinet, pointing to the eighty-
two-year-old grandmother, fanning & raspy
in the New Orleans Saints folding chair.

                      Eenee Menee Mainee Mo!            Three times a day the helicopter flies by in a low crawl. The grandmother insists on not being helpless, so she waves a white hand- kerchief that she puts on and takes off her head toward the cameraman and the pilot who remembers well the art of his mirrored-eyed posture in his low-flying helicopter: Bong Son, Dong Ha, Pleiku, Chu Lai. He makes a slow Vietcong dip & dive, a move known in Rescue as the Observation Pass.            The roof is surrounded by broken-levee water. The people are dark but not broken. Starv- ing, abandoned, dehydrated, brown & cumulous, but not broken. The four-hundred-year-old anniversary of observation begins, again-Eenee Menee Mainee Mo!                       Catch a- The woman with pom-pom legs waves her uneven homemade sign:                       Pleas Help  Pleas and even if thee has been left off the Pleas e do you know simply by looking at her that it has been left off because she can't spell (and therefore is not worth saving) or was it because the water was rising so fast there wasn't time?Eenee Menee Mainee Mo!                       Catch a- a-            The low-flying helicopter does not know the answer. It catches all this on patriotic tape, but does not land, and does not drop dictionary, or ladder.            Regulations require ane be at the end of anyPleas e before any national response can be taken.            Therefore, it takes four days before the national council of observers will consider dropping one bottle of water, or one case of dehydrated baby formula, on the roof where thee has rolled off into the flood,                       (but obviously not splashed loud enough) where four days later not the mother, not the baby girl, but the determined hanky waver, whom they were both named for, (and after) has now been covered up with a green plastic window awning, pushed over to the side right where the missinge was last seen.My mother said to pick                       The very best one! What else would you call it, Mr. Every-Child-Left-Behind. Anyone you know ever left off or put on ane by mistake? Potato Po tato e            In the future observation helicopters will leave the well-observed South and fly in Kanye-West-Was-Finally-Right formation. They will arrive over burning San Diego.            The fires there will be put outso well. The people there will waitin a civilized manner. And they will receivefoie gras and free massage for all their trouble, while there houses don't flood, but instead burncalmly to the ground. The grandmothers were right about everything.            People who outlived bullwhips & Bull Connor, historically afraid of water and routinely fed to crocodiles, left in the sun on the sticky tar- heat of roofs to roast like pigs, surrounded by forty feet of churning water, in the summer of 2005, while the richest country in the world played the old observation game, studied the situation: wondered by committee what to do; counted, in private, by long historical division; speculated whether or not some people are surely born ready, accustomed to flood, famine, fear.My mother said to pick                       The very best one                       And you are not it!            After all, it was only po' New Orleans, old bastard city of funny spellers. Nonswimmers with squeeze-box accordion accents. Who would be left alive to care?

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my mistress' eyes are nothing like the sun (sonnet 130)

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My mistress' eyes are nothing like the sun (Sonnet 130)

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But, lo! from forth a copse that neighbours by, A breeding jennet, lusty, young, and proud, Adonis' trampling courser doth espy, And forth she rushes, snorts and neighs aloud; The strong-neck'd steed, being tied unto a tree, Breaketh his rein, and to her straight goes he.

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This is my favourite Scene of "Romeo and Juliet"
Because Mercutio is my favourite character for his courage and his symphaty, and his death stuck my deeply.

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I love it.
I've choosen this because I think Literature is a way to explain our common emotions and make them special.

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One of Shakespeare's most famous tragedies, Othello is concerned with the themes of jealousy and possessiveness, gullibility and blind passion, and the dangers that can arise from a failure to see beyond the surface appearances

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The Merchant of Venice is one of the best drama of Shakespeare. Tell about the condition of the Jews in that period of time

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Romeo and Juliet, a tragic play by William Shakespeare, is the story of two star-crossed lovers who are plagued by the hatred and detestation of their respective families.

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Macbeth is the story of a murderer and usurper, like Richard III or Claudius -Hamlet- from crime to crime to achieve security and power.

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Visit this site dedicated to the playwright William Shakespeare and his famous works. William Shakespeare plays like Hamlet, Othello, King Lear, Macbeth and the Tempest. William Shakespeare's Sonnets and Pictures are featured as well as his poems and biography.

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FireShot Capture 13 - Bubbl.us - Hamlet - https___bubbl.us_8949200

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FireShot Capture 14 - Bubbl.us - Macbeth_ - https___bubbl.us_NDY2MzQ0NS84OTQ5M