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What does it mean for Abigail to have a soiled name in The Crucible by Arthur Miller?
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∙ 13y ago
She's done something bad so people think she is bad and she does not have a good name
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∙ 13y ago
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What is the summary of the poem 'nature' by H W Longfellow?
In his poem "Nature" the poet H.W.Longfellow portrays a comparison of the relationship between a child and his mother and the relationship between human beings and mother nature. It is the harsh truth of nature that all living beings will meet their inevitable end some day. In this poem, the poet reminds us of this bitter fact through the comparison he draws. The poem begins with the picture of a fond mother taking her child to sleep. The poet talks about the mixed feelings in the child's mind at this point in time. The mother takes her child away from his playthings, still strewn all over the floor, to tend her child to sleep. She promises him a lot of other attractions to convince him to go to sleep. The child is well aware of the pleasures he would receive from his playthings, but the words of his mother try to take his mind away from his familiar world into a world unknown, inexperienced by him. The child has different thoughts running in his mind. He wants to play but the urge to dwell in the unknown world also allures him, making him half reluctant and half willing to be led to his bed. Even while he is being led by his mother, he gazes at his playthings left behind, his mind still not reassured or comforted by the promises made to him by his mother. The promises made might be splendid on their own but may not please the child the way his playthings do. In spite of a more splendid offer, he might still be inclined to play rather than pursue those pleasures. This is the way nature deals with us. The poet compares us, humans, with the child and nature with the mother and sleep with our end, death. With each passing days of our life, time slips away from our hand, the days remaining in our lives get shorter. And in this course of time, nature takes away from us our beloveds, our possessions. In the end, as the rule of nature, we are bound to separate from all our relationships, all our belongings behind and leave this world. The process is so gradual that we hardly notice our end creeping towards us. Nobody knows what happens after death. Man keep on wondering what awaits him after his death and before he gets his answer, he himself meets his own death. As it says, we go to a different world after death. Our whole life passes away but we fail to reach a conclusion regarding our fate in the other world. We do not get to decide whether we want to stay on this earth, or depart after death for another world, unknown to us. We stay too much engaged in our thoughts of both the world to understand what we actually want. In the end, we leave this world, completely ignorant of where we are going, what is waiting for us on the other end.
Literature of alitaptap dance?
Once, along time ago, in the valley of Pinak in Central Luzon, one of the islands in the Philippines. There was a deep large lake rich with fish. There, the people of Pinak fished for their food, and always, there was plenty for all. Then suddenly, the big river dried up. In the shallow mud, there wasn't a fish to catch. For months, there were no rains. Out in the fields, the land turned dry. The rice-stalks slowly withered. Everywhere in Pinak, there was hunger. Night after night, the people of Pinak prayed hard. "Dear Bathala," they would recite together in their small and poorly-built chapel, " send us rains, give us food to eat. For the people are starving, and there is want among us!" Then one black and starless night, the good Bathala answered the prayers of the faithful people of Pinak. For suddenly up in the dark skies appeared a blaze of gold! A beautiful chariot of gold was zooming thru the sky. The people started to panic but a big booming voice came from the chariot soothing them with words. " I am Bula-hari, and I have come with my wife, Bitu-in. We are sent to the heavens to rule Pinak from now on. We have come to give you good life!" As Bulan-hari spoke, the black skies burst open. The rain fell in torrents. Soon the dry fields bloomed again. The large lake rose and once again was filled with fish. The people were happy once more under the rulership of Bulan-hari. Soon Bulan-hari and Bitu-in had a daughter. She grew up to be a beautiful maiden. Such long dark hair! Such lovely eyes under long curling lashes! Her nose was chiselled fine. Her lips like rosebuds. Her skin was soft and fair like cream. They named her Alitaptap for on her forehead was a bright sparkling star. All the young, brave handsome men of Pinak fell in love with Alitaptap. They worshipped her beauty. They sang songs of love beneath her windows. They all sought to win her heart. But alas! the heart of Alitaptap wasn't human. She was the daughter of Bulan-hari and Bitu-in, who burst from the sky and were not of the earth. She had a heart of stone, as cold and as hard as the sparkling star on her forehead. Alitaptap would never know love. Then one day, an old woman arrived at the palace. Her hair long and dirty. her clothing tattered and soiled. Before the king Bulan-hari, Balo-na, the old, wise woman whined in her sharp voice... that she had come from her dwelling in the mountains to bear the king sad news. The news being that she saw the future in a dream and it betold of their fate... the warriors of La-ut are coming with their mighty swords to conquer the land, the only solution is to have a marriage between Alitaptap and one of the young men, so as to have a heir to win the war. At once Bulan-hari pleaded with his daughter to choose one of the young men in their village. But how could the beautiful maiden understand? Alitaptap's heart of stone merely stood in silence. Bulan-hari gripped his sword in despair... " Alitapatap!" he bellowed in the quiet palace, "You will follow me, or you will lay dead this very minute!" But nothing could stir the lovely young woman's heart. Bulan-hari blind with anger and fear of the dark future finally drew his sword. Clang! the steel of his sword's blade rang in the silence of the big palace. It hit the star on Alitaptap's lovely forehead! The star burst! Darkness was everywhere! Until a thousand chips of glitter and light flew around the hall. Only the shattered pieces of the star on Alitaptap's forehead lighted the great hall, flickering as though they were stars with tiny wings. Alitaptap, the lovely daughter from the heavens lay dead. And soon, Balo-na's prediction had come true. Riding in stamping wild horses, the warriors of La-ut came like the rumble and clashes of lightning and thunder. They killed the people of Pinak, ruined crops, poisoned the lake. They spread sorrow and destruction everywhere. When it all ended, the beautiful, peaceful valley of Pinak had turned into an empty and shallow swamp. At night, there was nothing but darkness. But soon, tiny sparkles of light would flicker and lend glimmers of brightness in the starless night. And so, the fireflies came about. Once, a long time ago, they were fragments from the star on the forehead of Bulan-hari's daughter, the beautiful Alitaptap. The End.
What is analysis of god's grandeur by Gerard manley Hopkins?
The world is charged with the grandeur of God.It will flame out, like shining from shook foil;It gathers to a greatness, like the ooze of oilCrushed. Why do men then now not reck his rod?Generations have trod, have trod, have trod;And all is seared with trade; bleared, smeared with toil;And wears man's smudge and shares man's smell: the soilIs bare now, nor can foot feel, being shod.And for all this, nature is never spent;There lives the dearest freshness deep down things;And though the last lights off the black West wentOh, morning, at the brown brink eastward, springs-Because the Holy Ghost over the bentWorld broods with warm breast and with ah! bright wings.SummaryThe first four lines of the octave (the first eight-line stanza of an Italian sonnet) describe a natural world through which God's presence runs like an electrical current, becoming momentarily visible in flashes like the refracted glintings of light produced by metal foil when rumpled or quickly moved. Alternatively, God's presence is a rich oil, a kind of sap that wells up "to a greatness" when tapped with a certain kind of patient pressure. Given these clear, strong proofs of God's presence in the world, the poet asks how it is that humans fail to heed ("reck") His divine authority ("his rod").The second quatrain within the octave describes the state of contemporary human life-the blind repetitiveness of human labor, and the sordidness and stain of "toil" and "trade." The landscape in its natural state reflects God as its creator; but industry and the prioritization of the economic over the spiritual have transformed the landscape, and robbed humans of their sensitivity to the those few beauties of nature still left. The shoes people wear sever the physical connection between our feet and the earth they walk on, symbolizing an ever-increasing spiritual alienation from nature.The sestet (the final six lines of the sonnet, enacting a turn or shift in argument) asserts that, in spite of the fallenness of Hopkins's contemporary Victorian world, nature does not cease offering up its spiritual indices. Permeating the world is a deep "freshness" that testifies to the continual renewing power of God's creation. This power of renewal is seen in the way morning always waits on the other side of dark night. The source of this constant regeneration is the grace of a God who "broods" over a seemingly lifeless world with the patient nurture of a mother hen. This final image is one of God guarding the potential of the world and containing within Himself the power and promise of rebirth. With the final exclamation ("ah! bright wings") Hopkins suggests both an awed intuition of the beauty of God's grace, and the joyful suddenness of a hatchling bird emerging out of God's loving incubation.FormThis poem is an Italian sonnet-it contains fourteen lines divided into an octave and a sestet, which are separated by a shift in the argumentative direction of the poem. The meter here is not the "sprung rhythm" for which Hopkins is so famous, but it does vary somewhat from the iambic pentameter lines of the conventional sonnet. For example, Hopkins follows stressed syllable with stressed syllable in the fourth line of the poem, bolstering the urgency of his question: "Why do men then now not reck his rod?" Similarly, in the next line, the heavy, falling rhythm of "have trod, have trod, have trod," coming after the quick lilt of "generations," recreates the sound of plodding footsteps in striking onomatopoeia.CommentaryThe poem begins with the surprising metaphor of God's grandeur as an electric force. The figure suggests an undercurrent that is not always seen, but which builds up a tension or pressure that occasionally flashes out in ways that can be both brilliant and dangerous. The optical effect of "shook foil" is one example of this brilliancy. The image of the oil being pressed out of an olive represents another kind of richness, where saturation and built-up pressure eventually culminate in a salubrious overflow. The image of electricity makes a subtle return in the fourth line, where the "rod" of God's punishing power calls to mind the lightning rod in which excess electricity in the atmosphere will occasionally "flame out." Hopkins carefully chooses this complex of images to link the secular and scientific to mystery, divinity, and religious tradition. Electricity was an area of much scientific interest during Hopkins's day, and is an example of a phenomenon that had long been taken as an indication of divine power but which was now explained in naturalistic, rational terms. Hopkins is defiantly affirmative in his assertion that God's work is still to be seen in nature, if men will only concern themselves to look. Refusing to ignore the discoveries of modern science, he takes them as further evidence of God's grandeur rather than a challenge to it. Hopkins's awe at the optical effects of a piece of foil attributes revelatory power to a man-made object; gold-leaf foil had also been used in recent influential scientific experiments. The olive oil, on the other hand, is an ancient sacramental substance, used for centuries for food, medicine, lamplight, and religious purposes. This oil thus traditionally appears in all aspects of life, much as God suffuses all branches of the created universe. Moreover, the slowness of its oozing contrasts with the quick electric flash; the method of its extraction implies such spiritual qualities as patience and faith. (By including this description Hopkins may have been implicitly criticizing the violence and rapaciousness with which his contemporaries drilled petroleum oil to fuel industry.) Thus both the images of the foil and the olive oil bespeak an all-permeating divine presence that reveals itself in intermittent flashes or droplets of brilliance.Hopkins's question in the fourth line focuses his readers on the present historical moment; in considering why men are no longer God-fearing, the emphasis is on "now." The answer is a complex one. The second quatrain contains an indictment of the way a culture's neglect of God translates into a neglect of the environment. But it also suggests that the abuses of previous generations are partly to blame; they have soiled and "seared" our world, further hindering our ability to access the holy. Yet the sestet affirms that, in spite of the interdependent deterioration of human beings and the earth, God has not withdrawn from either. He possesses an infinite power of renewal, to which the regenerative natural cycles testify. The poem reflects Hopkins's conviction that the physical world is like a book written by God, in which the attentive person can always detect signs of a benevolent authorship, and which can help mediate human beings' contemplation of this Author.
When was Soiled Doves created?
Soiled Doves was created in 2000.
Soiled in a sentence?
I must have this soiled shirt laundered before I wear it again.
What are the release dates for Soiled - 1925?
Soiled - 1925 was released on: USA: 8 November 1925
What is decoy system?
is a grouping of soiled tablewares in soiled dish table according to size and shape
What is soiled straw?
"Soiled" straw is straw on which animals have been bedded and which has been contaminated with their manure.
Is autoclave use to heat sterilize soiled dressings from surgical wound?
Absolutely not! Always incinerae soiled dressings.
What are the ratings and certificates for Soiled - 1925?
Soiled - 1925 is rated/received certificates of: USA:Passed (National Board of Review)
What are the ratings and certificates for Soiled Tier - 2009?
Soiled Tier - 2009 is rated/received certificates of: UK:15
How do you use soiled in a sentence?
Mary wanted to cry when she saw the soiled clothes her son James had left over to be washed
What are the release dates for Soiled Love - 2007?
Soiled Love - 2007 was released on: USA: 2007 (Los Angeles, California)
What actors and actresses appeared in Soiled Tier - 2009?
The cast of Soiled Tier - 2009 includes: Naomi Westerman as Model
Define 'decoy system'?
decoy system is a grouping of soiled tablewares in soiled dish table according to size and shapes.
