Composed upon Westminster Bridge Essay Example

Composed upon Westminster Bridge Paper William Wordsworth was part of the Romantic movement. This usually involved using plain language, unlike most poetry at the time, and addressing liberal political issues to do with the suffering of poor agricultural workers. He often celebrated nature, and wrote about landscapes. He believed in the spontaneous overflow of powerful feelings being expressed in poetry. Wordsworths poems, including this one, use the Petrachan form, made up of an octave, rhyming: a;b;b;a;a;b;b;a, and a sestet, rhyming c;d;c;d;c;d. The sonnet describes something very beautiful, which seems to be a city. It may contain suggestions about society. Because the city is man-made, it may suggest that man is capable of making very beautiful things; possibly even more so than nature. It may, though mean, that people are not like this, because the city is only made beautiful by the sun and the morning. The octave seems to just be a simple description of a beautiful, physical thing. We are strongly made to believe that this is a city, because Wordsworth calls it this city, and the tile contains Westminster Bridge. We will write a custom essay sample on Composed upon Westminster Bridge specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Composed upon Westminster Bridge specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Composed upon Westminster Bridge specifically for you FOR ONLY $16.38 $13.9/page Hire Writer It seems to be about how it is made beautiful by the morning. The reader is made to think this because Wordsworth mentions the beauty of the morning, and Early morning is written in brackets under the title, as an alternative title. The language used in the octave is not at all difficult to understand. The way the form separates the sonnet into two parts is used here, to create a separate easy-to-understand introduction. The sestet is more difficult to understand. It uses much more metaphorical language to describe the subject of the sonnet. The sestet still seems to be describing beauty, because Wordsworth uses images of beauty, such as more beautifully steep. Wordsworth seems to be implying that the city in the morning is more beautiful than natural things such as a rock. The reader thinks this because Wordsworth writes that the sun did never beautifully steep valley, rock, or hill. One of the main ideas of the sestet is about the calm of the morning. Wordsworth suggests this in many ways, such as mentioning: a calm so deep, glideth and lying still. The calm is created because everyone is asleep in the early morning, and he expresses how he feels that everything is asleep by claiming that the very houses seem asleep. The sonnet form is used to create a section, which elaborates on the first, after the theme has been introduced. Shakespeare and Wordsworth have shown how the power of the form can create deep, fluent ideas that have been remembered for hundreds of years, without the minimum amount of words, and that it can completely change the face of a poem to reflect the thoughts of a completely different style, of a completely different person, of a completely different mind. Composed upon Westminster Bridge Essay Example Composed upon Westminster Bridge Paper William Wordsworth (1770-1850) wrote the poem entitled Composed upon Westminster Bridge on 3rd September 1802 after his first visit to London in July of the same year. Along with his sister Dorothy he passed through London on his way to France to visit his former lover (and mother to his daughter Caroline) Annette Vallon, prior to his marriage to Mary Hutchinson. Due to his impending marriage to Mary and his subsequent visit to France, it may be read that perhaps Wordsworths emotions were high as he and his sister passed over Westminster Bridge by coach on their way to Dover for the crossing to Calais. This impression of Wordsworths lifted spirits is felt in the tone of the poem, which shows London infused with light, a beating heart of freedom, reaching out to the four corners of the civilised world and pulsing with life. He shows the city as an impression, not necessarily of what he actually sees, but as a reflection of the natural beauty of the summers day, iridescent in the brilliance of the morning light. We will write a custom essay sample on Composed upon Westminster Bridge specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Composed upon Westminster Bridge specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Composed upon Westminster Bridge specifically for you FOR ONLY $16.38 $13.9/page Hire Writer However, Dorothys journal (from which we glean an insight into Wordsworths earlier poetry) notes that in September 1802 their return home through London from France took place late in the evening, on a misty day when they could see nothing. Wordsworth may have used Dorothys earlier entry in July to inspire this composition which he subsequently dated September 1802. It is generally agreed that he must have confused his dates; but it may also be suggested that during his visit to the capital in July, or on his return journey from seeing both his child and former lover, his spirits were high, as this sonnet is surely a dedication to the glory of nature, reflected in the beauty of a summers morning. His first sighting of London must have been enriched by what he saw on Westminster Bridge that day, in order for him to be inspired to compose such a soulful eulogy to the mighty heart of the city, all bright and glittering in the smokeless air. It may even show his present sense of the divine manifestation of Gods handy-work in the creation of that morning. What Wordsworth does convey in the poem is a London of light, life and liberty; and it is these three elements of the poem that shall be looked at. There are two good references to light (and cleanliness) in the poem. One of the most striking of these is in line 8 All bright and glittering in the smokeless air. This is a reference to the ships, towers, domes and temples in line 6, which lie / Open unto the fields, and to the sky. By referring to the bright and glittering smokeless air, Wordsworth gives us an image of a crisp, clear morning in summer; where the early morning sunlight bathes the towers, domes and temples on either side of the Thames; and upon the ships themselves that may have been seen to dance upon the reflected sunlight from the river itself. Imaginatively, he impresses a morning of beauty and purity, with the clear, intense light that you can only get on a summers morning even in a city. By this, it is as though he were witnessing Gods work itself in the new day before him. The second sense of light we get in the poem is shown in the lines Never did sun more beautifully steep / In his first splendour, valley rock or hill. Here, Wordsworth is portraying the light of the sun soaking the city landscape (perhaps in antiquity, before the city were even there); or as purely as it would seep into a landscape more natural- that of the very valleys, rocks and hills mentioned. Wordsworths reference to his first splendour is that of the sun personified; and perhaps he is comparing his sight of London on this morning with the suns first rays bathing the natural landscape on the very first morning of creation. It is with this personification of the sun as his (amongst others) that Wordsworth conveys a London of life in the poem. By his reference to the suns rays as his first splendour, he is lending the sense that the sun is a person, and alive. Wordsworth uses personification in this way at other times in the poem, all with a will to breathe life into his words. Notably, The river glideth at his own sweet will and The city doth, like a garment wear, and also All that mighty heart is lying still. Here, the personification of the river and of the city gives the impression of them being alive. The line This city now doth, like a garment wear portrays the city as a living being, wearing The beauty of the morning as though it were a garment. Also, in the line The river glideth at his own sweet will, we are left with an imagery of a river flowing liberally, wherever it wishes to, not constrained by the city or its own banks, but freely roaming, with a will of its own. The line And all that mighty heart is lying still gives a strong conveyance of the beating heart of the living city, or the pulsing heart of commerce and trade, and the paths of freedom reaching out to the far flung shores of the world. It may be felt that this line gives an impression where all Wordsworth sees and mentions in the poem seems alive, has a mighty heart that beats to its own rhythm of life. One other personification Wordsworth uses, be it not as great as the other examples given, is in line 13 Dear God! The very houses seem asleep. The reference to the houses sleeping is an impression of the actual bricks and mortar appearing to be asleep on this morning- just as its inhabitants may well have been. Other ways the poem conveys life is through the lines Open unto the fields, and to the sky, and valley, rock or hill, a clear reference to nature. Wordsworth uses a number of similar references to the natural world in this poem, notably: river, sun, fields, sky, valley, rock, hill and Earth. Through these, the reader has a sense of the natural within Wordsworths vision of London: an impression of life. By Wordsworth referring to the Ships, towers, domes and temples (in line 6) being Open unto the fields, and to the sky (in line 7), he is giving an idea that the buildings and man made structures of the city, as they are being highlighted by the light of the summers morning, bear a resemblance to the more natural elements of tree, wood and rock. An open field, or an open sky, holds an abundance of natural life. It is this idea that Wordsworth is trying to communicate: Earth has not anything to show more fair; than the sight of London, filled with life, on this morning. By referring it to the natural world, he is imbuing life into his vision. Another way life is portrayed in the poem is through the use of alliteration, especially of the /t/ sound. For example in And all that mighty heart is lying still, the tempo of the line gives the impression of a beating heart through regular emphasis of the /t/ sound. Throughout this line of ten syllables, five of the syllables are emphasised by the /t/ sound, which highlights the rhythm of the line. Liberty, freedom and non restraint are represented in a number of lines in the poem, not least the previously mentioned The river glideth at his own sweet will and Open unto the fields, and to the sky. Both lines (as shown) convey life through personification, but they both also strongly represent the idea of liberty. In the first line, the reader is left with an imagery of a meandering river winding its way through green meadows, lined with willow edged banks. A scene of the open country, not one of the constrained city. In the second line, liberty is conveyed through the impression of an open vista of fields, stretching into the hazed distance and meeting the immensity of the sky. By using words to convey an imagery of liberty, Wordsworth infuses the spirit of freedom into his words. The use of sibilance in this line and in line 11 Neer saw I, never felt, a calm so deep! / The river glideth at his own sweet will; shows the use of sibilance (underlined), the repetitions of the /s/ sound, to convey a sense of liberty. This is why Wordsworth uses the pronoun his not her, which is the traditional reference to rivers and water. By using sibilance, Wordsworths words flow and are not restricted; the sound of the s moves the words along freely. Other sounds Wordsworth uses, such as the soft phoneme /l/ sound, as well as the /s/ sound mentioned, convey a liberty of spirit within the poem. Examples of the soft /l/ phoneme sound are in line 4 and 5: This City now doth, like a garment, wear / the beauty of the morning, silent, bare, Also, All bright and glittering, in the smokeless air. And hill, will and still at the ends of lines 10, 12 and 14, respectively. In fact, the entire structure of the poem as a fourteen line sonnet allows the words, sound and meaning to flow freely throughout. The iambic pentameter of the poem gives an ordered rhythm and repeated sound which flows through the poem. This conveys a sense of freedom as the sound moves from one line to the next, ebbing and flowing like a river. This also allows the sound of the poem, when read aloud, to impress an imagined babbling brook; conjuring numerous words which can be used to describe the sound of the poem from airy, gentle, soft, flowing and calm. One other element Wordsworth uses to convey a London of liberty is the use of enjambment, where the punctuation used allows the poem to be read in a flowing manner. The reader continues from one line to the next, with no pause, which gives a sense of fluidity and movement. Other ways Wordsworth uses sound to convey light, life and liberty are in his use of polysyllables throughout the poem. Examples of these are beautifully, majesty, splendour and glideth. By using polysyllables, Wordsworth is using the sound of these words to match the required 10 syllables for each line in order to produce the fourteen line sonnet; but, the words used are important as they can also convey life, light and liberty. Wordsworth also uses long sounding vowel sounds, such as the /i:/ of sleep, deep and majesty; the /i:/ and /u:/ of be auty and be autiful; the /e / of air and fair and the / / of clear. He also uses /aI/ in glideth. It is through the use of assonance of these long vowel sounds that Wordsworth also portrays, light, life and, most of all, liberty in his poem. The assonance draws the reader onward and gives a quiet, calm, gentle and flowing sound to the overall composition. Wordsworths poem Composed Upon Westminster Bridge praises the coexistence between nature and civilization, and conveys dramatically, and sometimes subtly, to the reader a London of light, life and liberty. He does this through a number of means: imagery of words or phrases; use of assonance and soft phoneme sounds; enjambment, by allowing the poem to flow freely; personification of the sun, river and city itself; the sound and the rhythm of the poem; alliteration and the use of sibilance to encourage the rhythm and sound of the poem to freely flow. By these means, Composed Upon Westminster Bridge clearly conveys a London imbued with light, life and liberty.

Nkisi Nkondi Mangaaka Essays - Kingdom Of Kongo, African Witchcraft

Nkisi Nkondi Mangaaka Essays - Kingdom Of Kongo, African Witchcraft Nkisi Nkondi Mangaaka Out of all the terrible consequences of the African slave trade and the forcible colonization of Africa, one of the worst is the destruction of traditional African cultures and how little is now known about them. The subtleties that went along with vari ous African peoples' cultures have largely been lost, destroyed, replaced by Western practices, or forgotten. Many traditional African religious practices are looked down on as voodoo, or are construed as misinterpretations of the preachings of Christian m issionaries. The Kongo people of the Congo River Basin are no exception. A large amount of their art was taken to Europe in the 19th Century to be shown off as oddities from a foreign land. European collectors particularly loved carved statues that they c alled "power figures" or "nail fetishes" that were known to the Kongo people as minkisi . Europeans thought of these figures as big voodoo dolls, but minkisi are actually important and powerfully symbolic objects that played a key part in both the religion and the interpersonal relations of the Kongo people. This paper will explore how the purpose of minkisi is more than an art object, and a specific specimen, Nkisi Nkondi Mangaaka , will be examined. Nkisi Nkondi Mangaaka is a power figure that was created in the 19th century by a tribe from the Congo River Basin region. The exact date of creation and the creator are unknown. The figure is a man carved out of hardwood. He is stout with a large head, standing with his feet should width apart and knees slightl y bent, ready to spring at any aggressors. His feet are thin and block and each one rests on its own small block of wood. His arms are bent slightly so that he rests his small hands on his hips. Two arm bands are carved on each of his upper arms. On the fi gures back, the anatomy of the spine and shoulder blades in linearly defined. A gaping cavity is carved out of the belly. The face is characterized by linear features. The eyes are big semicircles that are painted on with white pigment. The ears are small and high up the skull. The nose and eyebrows are carefully carved with striking shapes. The mouth is open so that the figure can show off its viciously pointed teeth. A headdress or crown is carved on top of the head which shows that the figure is a perso n of status. The most striking thing about this figure is not its aggressive stance or even the hole in its torso. Hundred of nails and shards of metal are embedded in wood of the figure. Most of the nails are concentrated in the torso of the figure, but some are embedded in the shoulders, feet, the sides of the knees, and the jawline. Almost as striking as the hundreds of nails stuck in figure's stomach is the absolute lack of nails on the back of the figure. Not one nail is embedded in the figure's back, back of his head, back of his legs, or back of his arms. Hammering nails into a power figure is an important ritual in the religion of the Kongo people, and to better understand Nkisi Nkondi Mangaaka , one must understand the rituals surrounding minkisi in general. During the colonization of Africa by Europeans in the 19th Century, a large amount of African art was brought to Europe, but those "who collected and catalogued objects of art from Africa were not concerned with discovering the names of the art ists or even their ethnic identities" ( Bassani ). Not much is known about any specific power figure, Mangaaka included, but the general purpose of them is known. In the religion of the people of the Congo River Basin, power figures, or minkisi (singular n kisi ), are vessels of spirits, or objects that spirits reside in. A nkisi , due to the powerful spirit trapped inside of it, is thought to be able to heal illnesses, protect against black magic, and even communicate with the spiritual world. A nkisi can be any object, but it it is carefully selected by the spiritualists

Exam questions Essay Example | Topics and Well Written Essays - 250 words - 1

Exam questions - Essay Example First and foremost, the first question pertaining to the visual material provided is how we can make sure that the human rights laws are adhered to by the public? On that note, the answer to this question should be comprehensively elaborated. Secondly, what are the measures that have been put in place by the government to safe guard the vulnerable groups from human rights violation? Evidently, this question has been discreetly covered in the video and the lecture material provided. Finally, which are some of the organizations that have played a big role in the upholding of human rights laws? On the same point, the answer to this question is brief and is clearly covered in the video. In summation, it is clear that human rights violation are a major setback towards attaining universal development. To this end, the government has played a big role in trying to avert this looming crisis by creating the necessary legislation. ï‚ · Human rights Day. (n.d.). human rights. Retrieved February 13, 2014, from