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[ملاآآآذ الرووح]

:smile (95):

السسلام عليكم والرحمه

طآالبتكم مسآعده

في قصائد مابقيت صفحه بالنت مادورت فيها شرح لها القصائد..


ابي مسآعده منكم..للي قد درسهم او يعرف عنهم اي شي..


the secretary chant

by

marge piercy


ابي معلومآت عن الكابت وشرح للقصيده ..بليز


حتى فيه قصيده ثانيه مدري اهو فيه قصيدتين بنفس العنوان ولا لا مدري وش المشكله حصلت لها شرح بس لما قريت حصلت القصيده تختلف


in memoriam A.H.H

by Alferd lord tennyson

مقسمه القصيده ثلاث جزآء


بدآية اول جزء dear friend, far off my lost


ياليت احصل رد الله يجزآكم خير..ويجعل كل حرف تكتبونه حسنه


ودي

[Northie]

Hi

First of all, this is Piercy's personal website
http://www.margepiercy.com/

And from another website , here is a basic biography about her with
A COMPREHENSION QUIZ and ESSAY QUESTIONS
http://wps.prenhall.com/hss_master_lit_1/0,,657311-,00.html




Marge Piercy
(b. 1936)

A native of Detroit, Marge Piercy received her B.A. from the University of Michigan (1957) and her M.A. from Northwestern (1958). She now lives in Cape Cod, Massachusetts. Among her novels are Braided Lives (1980) and Fly Away Home (1984). The first of her many poetry collections was Breaking Camp (1968). Others are The Moon Is Always Female (1980), in which "Will We Work Together" appeared; Circles on the Water: Selected Poems (1982), including "A Work of Artifice" and "The Secretary Chant;" and Available Light (1988), which includes "Wellfleet Sabbath." Recently she published a new collection of poems, What Are Big Girls Made Of? (1996).


And the Poem: Secretary Chant
The secretary chant
My hips are a desk.
From my ears hang
chains of paper clips.
Rubber bands form my hair.
My breasts are wells of mimeograph ink.
My feet bear casters.
Buzz. Click.
My head
is a badly organized file.
My head is a switchboard
where crossed lines crackle.
My head is a wastebasket
of worn ideas.
Press my fingers
and in my eyes appear
credit and debit.
Zing. Tinkle.
My naval is a eject button.
From my mouth issue canceled reams.
Swollen, heavy, rectangular
I am about to be delivered
of a baby
xerox machine.
File me under W
because I wonce
was
a woman


A detailed Summary of Piercy's Use of Implied and Explicit Metaphors in "The Secretary Chant"
In this poem Marge Piercy's speaker evokes a concrete vision of a woman who has lost her personal identity to her job. Her bold and descriptive use of metaphors allow the reader to envision a woman who is living her life vicariously through her career. Ms. Piercy successfully uses paradox, personification, and the pun to bring the
character alive. With the use of metaphors, both implied and explicit, the reader can deeply empathize with the central character of this poem.

From the first line of the poem the tone is set for the reader. It is not so vague as to use a simple simile, but a strong manifestation of the idea of the speaker as an actual personification of a material object. She does not say "My hips are like a desk",

she says "My hips are a desk" (line 1). Throughout the rest of the poem, personification of the woman as nothing more than a piece of office equipment is expressed with striking realism.

In the first six lines of the poem the speaker describes herself in salient detail. Each of her body parts are placed with an obvious piece of office equipment. This allows the reader to form a solid picture of a woman s
performed a vital function maintaining an office is now completely useless.

Further examination of the personification of the secretary as a piece of office equipment is seen in the use of onomatopoeia as a metaphor. "Buzz. Click" (7) and "Zing. Tinkle" (14). With the use of these descriptive sounds the machines would traditionally make, the symbolism is more aptly expressed to the reader.

She is clearly telling her boss where he would find the used paper and closed files but the pun intended is that whatever she tells her boss is ignored anyway.

of metonymy, the secretary, now as a machine herself is "about to be delivered / of a baby Xerox machine" (18-20), thus perpetuating a species of human machines.

In the final four lines, the secretary decries that "I wonce was a woman" and that she needs to be "filed under W". She is again giving instructions to her boss that she now serves no real function as a woman and should just be filed away and forgotten. In this way, Ms. Piercy develops the paradox in which a person who once

was explaining how to operate any other piece of office equipment. Like any secretary she would have


Essay on The Secretary Chant
http://essaymania.com/2116/the-secretary-chant



See also

http://www.docstoc.com/docs/9517672/Piercy-%E2%80%9CThe-Secretary-Chant%E2%80%9D

[LO butterfly LO]

شوفي لقيت هادا ويارب يفيدك عن القصيده الاولى
A detailed Summary of Piercy's Use of Implied and Explicit Metaphors in "The Secretary Chant"



In this poem Marge Piercy's speaker evokes a concrete vision of a woman who has lost her personal identity to her job. Her bold and descriptive use of metaphors allow the reader to envision a woman who is living her life vicariously through her career. Ms. Piercy successfully uses paradox, personification, and the pun to bring the

character alive. With the use of metaphors, both implied and explicit, the reader can deeply empathize with the central character of this poem.

From the first line of the poem the tone is set for the reader. It is not so vague as to use a simple simile, but a strong manifestation of the idea of the speaker as an actual personification of a material object. She does not say "My hips are like a desk",

she says "My hips are a desk" (line 1). Throughout the rest of the poem, personification of the woman as nothing more than a piece of office equipment is expressed with striking realism.

In the first six lines of the poem the speaker describes herself in salient detail. Each of her body parts are placed with an obvious piece of office equipment. This allows the reader to form a solid picture of a woman s



performed a vital function maintaining an office is now completely useless.

Further examination of the personification of the secretary as a piece of office equipment is seen in the use of onomatopoeia as a metaphor. "Buzz. Click" (7) and "Zing. Tinkle" (14). With the use of these descriptive sounds the machines would traditionally make, the symbolism is more aptly expressed to the reader.

She is clearly telling her boss where he would find the used paper and closed files but the pun intended is that whatever she tells her boss is ignored anyway.

of metonymy, the secretary, now as a machine herself is "about to be delivered / of a baby Xerox machine" (18-20), thus perpetuating a species of human machines.

In the final four lines, the secretary decries that "I wonce was a woman" and that she needs to be "filed under W". She is again giving instructions to her boss that she now serves no real function as a woman and should just be filed away and forgotten. In this way, Ms. Piercy develops the paradox in which a person who once

was explaining how to operate any other piece of office equipment. Like any secretary she would have
http://www.directessays.com/viewpaper/10959.html
وفي هادي كمان

What a girl wants; what a girl needs. An analysis of 3 Feminist Poems
In her poem "The Secretary Chant", Marge Piercy describes a working woman as if she were a machine. Every part of her body is a tool a secretary uses. She begins from the hips of the woman being a desk and ends giving birth to a copy machine. Marge Piercy addresses the unfair treatment of women in the working world; those working women are treated as if they are machines with no own creative brain at all. Many times women have complained about this injustice, which is reflected in the title of the poem, Piercy's use of the word, "Chant." M s. Piercy employs many metaphors to paint the grotesque picture of a "secretary machine." Piercy writes, "My hips are a desk" (line1), "My head is a badly organized file." (line 8) or "My navel is a reject button." (line 15) Besides these metaphors the author uses also onomatopoeia like "Buzz. Click." (line 7) and "Zing. Tinkle." (line 14), which emphasizes the reader's notion of a machine. The speaker uses no words of affection or emotion, which contributes to the mechanical effect and tone. Thus, through the use of language the reader actually gets the feeling a machine is talking to him. In addition, there is a kind of absurd humor in the poem: giving birth to a baby Xerox machine! The author uses hyperbole in this poem, because in this way she opens the reader's eyes as to the way men see woman that work. Marge Piercy does not put her "chanting" woman in a special kind of job. It is normal and common for a woman to become a secretary. Thus, the reader questions how many more women in contemporary society are similarly affected. As unfairly as working women are treated in the privacy of their homes, "domestic" women also suffer. While "The Secretary Chant" depicts the workplace as women having to fight hard for their equality, the poem "The Faithful Wife" by Barbara L. Greenberg, deals with the struggle of women for happiness in their marriage. The woman talking in this poem responds her husband, what she would do with another man and places they would go to. She says that she would do nothing the same with him and this other man would see in a way her husband never has.Barbara L. Greenberg's vision of women in marriage is that a wife puts the wishes of her husband before her own -- he comes first. "The Faithful Wife" portrays a woman who has lost her own identity, similar to the speaker in "The Secretary Chant". She claims to be a faithful wife, be a faithful wife, because even if she has another man she would "not dishonor" (line 3) him. On the other hand, she does not reveal to her husband her real self. In this way both of them lose, because she has to live a life as an other person and he never really gets to know his wife. And how much love can this woman give anybody in her life if she doesn't love herself; if she is not happy? As a matter of fact, there are many women like this who put husbands and children first, and feel bad if they buy themselves something or take some time for themselves to read a book, they think this time could be used to do something for the family. Self-sacrifice is the key word here. These women define themselves, their identities, through the success of their husband or later, their children. But what about them? What happens if the children are gone and the husband is dead or has somebody else? Maybe the message of the author is that women should not forget about themselves, they should live their lives fully. This is your only life, don't waste it! "The Faithful Wife" has to be faithful to her own values and beliefs in order to be a fulfilled person, and then she can be a wife. There are reasons why women have difficulties standing ground in the working world and in marriage. Little girls get the wrong king of behavior taught in their childhood. Anne Sexton, going back to the roots of the problem women has in their later life, in work or in marriage, points out the wrong lesson children learn in fairy tales. In her poem, "Cinderella", Anne Sexton addressed such fairy tale. She gives four examples out of the 20th century and then retells the story of Cinderella. This girl had a bad life with her stepmother and then with the help of doves, who live on the tree, which grows on her mother's grave, attends a ball in the palace. There she meets the prince. He falls in love with her and looks for her in her house with the help of a lost shoe. Her two stepsisters desperately wanted to fit in the shoe, and even cheated; but in the end Cinderella was found and she and the prince "lived happily ever after. They say. That story."In Anne Sexton's version of this age-old tale, she makes the reader aware of the dangerous lessons in those fairytales for their kids. The four examples from the 20th Century like the story of the nursemaid who marries the rich son or the plumber who wins the lottery. Anne Sexton makes it clear for the reader that she doesn't believe in this stuff, when she ends each of these little stories with the line "That story." Furthermore, by telling the story of Cinderella, an at least 200 years old fairytale that was first written down by the brothers Grimm the author throws in sarcastic remarks, to remind the reader that this is a fairytale, a product of fantasy and has little to do with real life. Sexton makes remarks like "It was a marriage market" (line 42), "That's the way with stepmothers." (line 55), "That is the way with amputations. They don't just heal up like a wish." (line 86/87) and "Cinderella and the prince lived, they say, happily ever after." (lines 100/101) The message to young girls, to be "devout" and "good" (line 25) will eventually lead her to a prince, doesn't work in real life. If a devout and good girl does find a prince, he might just turn into a frog after the wedding and then what? Women have to be also aware of the character of men and not only look for the money, the crown. And many "good girls" end up in bad situations like the woman in " The Faithful Wife", because they were not prepared to first strengthen their own identities. These characteristics, devoutness and goodness are certainly important, but don't guarantee success in life.Another issue Sexton is addressing is how women make their foot fit the shoe, "The eldest went into a room to try the slipper on but her big toe got in the way so she simply sliced it off and put on the slipper." (lines 81/83). Like the women in the "The faithful Wife" and "The Secretary Chant", they make themselves fit into the role for male-dominant societies. This also makes the reader or listener aware of the fact that women often give up their own identities in order to fit in the shoe. Ending the poem with the line "That story", Sexton places fairytale equal to the success stories she begins with. The author wants to make the audience aware of the fact that patterns of behavior planted in a person's brain in childhood, in which girls learn how they should behave, are potentially damaging and long-lasting.
http://www.anjairene.com/literature/poetrybody.html

[LO butterfly LO]

وهذا معلومات عن الكاتب
Marge Piercy is the author of seventeen novels including The New York Times Bestseller Gone To Soldiers (http://www.margepiercy.com/books/gone-to-soldiers.htm); the National Bestsellers Braided Lives (http://www.margepiercy.com/books/braided-lives.htm) and The Longings of Women (http://www.margepiercy.com/books/longings-of-women.htm) and the classic Woman on the Edge of Time (http://www.margepiercy.com/books/woman-edge.htm); seventeen volumes of poetry, and a critically acclaimed memoir Sleeping with Cats (http://www.margepiercy.com/books/sleeping-with-cats.htm). Born in center city Detroit, educated at the University of Michigan, the recipient of four honorary doctorates, she has been a key player in many of the major progressive political battles of our time, including the anti-Vietnam war and the women's movement, and more recently an active participant in the resistance to the war in Iraq.
A popular speaker on college campuses, she has been a featured writer on Bill Moyers’ PBS Specials, Garrison Keillor’s Prairie Home Companion, Terri Gross’ Fresh Air, the Today Show, and many radio programs nationwide including Air America and Oprah & Friends.
Praised as one of the few American writers who are accomplished poets as well as novelists — Piercy is one of our country's best selling poets — she is also the master of many genres: historical novels, science fiction (for which she won the Arthur C. Clarke Award for Best Science Fiction in the United Kingdom), novels of social comment and contemporary entertainments. She has taught, lectured and/or performed her work at well over 400 universities around the world.

"Marge Piercy is not just an author, she's a cultural touchstone. Few writers in modern memory have sustained her passion, and skill, for creating stories of consequence."
-The Boston Globe
http://www.margepiercy.com/images/books/Crooked_Inheritance_Marge_Piercy_thumb.JPG (http://www.margepiercy.com/books/Crooked_Inheritance.htm) The Crooked Inheritance (http://www.margepiercy.com/books/Crooked_Inheritance.htm) (now in paperback)

[LO butterfly LO]

وهاذي القصيده الثانيه
Poem” was originally published as the introductory passage to Alfred, Lord Tennyson’s booklength poem In Memoriam A. H. H. The complete poem consists of 131 sections and was written over the course of seventeen years, capturing the development of the poet’s grief over the death of his friend Arthur Henry Hallam. The influence of Hallam’s death can be seen in several of Tennyson’s poems, including “Ulysses,” “Tithonus,” “The Two Voices,” and “Break, break, break.” Tennyson met Hallam in the 1820s at Trinity College, Cambridge. Hallam was considered by his classmates to be one of the most promising scholars of the day, until his sudden death from a stroke in 1833, at age twenty-two. Hallam and Tennyson were close companions. They traveled through Europe together, and at the time of his death, Hallam was engaged to Tennyson’s sister Emily.
In Memoriam A. H. H. is considered one of the single most influential poems of the Victorian age. It was a favorite of Queen Victoria’s and her husband Prince Albert and was so admired by the royal couple that Tennyson was appointed poet laureate the year the poem was published. Throughout the last half of the century, In Memoriam A. H. H. was frequently quoted in church sermons, due to Tennyson’s masterful control of the language and the poem’s mournful contemplation of humanity’s relationship to the eternal. In modern times, the poem is seldom read in its 2,868-line entirety, but individual sections like “Proem” are considered examples of Tennyson’s poetry at its best.
The Poem from In Memoriam A.H.H. Summary

Lines 1–4
The “Proem” for Tennyson’s long poem In Memoriam A. H. H. literally opens with a strong beginning: the word “strong” emphasizes the speaker’s awe and gives the poem a powerful tone. The phrase “Strong Son of God” can be read in two ways. The most obvious of these is that it is a reference to Jesus, who is referred to frequently in Christian doctrine as the Son of God. This emphasis on God’s human element also serves to imply a human subject to the poem, perhaps Arthur Henry Hallam, who is not mentioned in “Proem,” but whose initials appear in the title of the longer poem. Throughout the longer poem, readers find more evidence that Tennyson has drawn a connection between Christ and Hallam, whom he represents as a figure for the higher race of humanity that is expected to develop from Christ’s prophesied second-coming.
The last three lines of this first stanza refer to the unknown aspects of God. Tennyson points out that human faith is based on a lack of direct experience, noting that people believe in God even though they cannot see Him.
Lines 5–8
Ancient and medieval astronomers believed that the Earth was surrounded by a series of transparent orbs, or spheres, that rotated around it, accounting for the change from night to day, which the poem refers to in line 5. Saying that they are God’s is Tennyson’s way of noting that God holds power over all the universe. Even more impressive is the power, noted in line 6, to make life, and the corresponding power to make death. Line 8 uses the image of a foot crushing a skull to show how God maintains control over the life that He has made.
Lines 9–12
Tennyson follows the brutal image of God’s foot on man’s skull with the declaration that God is in fact good and concerned and will not abandon humanity to the mechanical world. There is a slight shift in the voice of the poem’s speaker from line 9, which refers to humanity as “us,” to line 10, in which “man” is referred to as “him.” This shift becomes clear in the rest of the stanza, in which the speaker shows that a normal person feels entitled to more than just death: the poem’s speaker, on the other hand, is willing to accept anything that God decides to do for or to humanity. He has complete faith that, regardless what happens or how it seems at the time, God is just.
Lines 13–16
This stanza addresses one of the most basic
Poem” was originally published as the introductory passage to Alfred, Lord Tennyson’s booklength poem In Memoriam A. H. H. The complete poem consists of 131 sections and was written over the course of seventeen years, capturing the development of the poet’s grief over the death of his friend Arthur Henry Hallam. The influence of Hallam’s death can be seen in several of Tennyson’s poems, including “Ulysses,” “Tithonus,” “The Two Voices,” and “Break, break, break.” Tennyson met Hallam in the 1820s at Trinity College, Cambridge. Hallam was considered by his classmates to be one of the most promising scholars of the day, until his sudden death from a stroke in 1833, at age twenty-two. Hallam and Tennyson were close companions. They traveled through Europe together, and at the time of his death, Hallam was engaged to Tennyson’s sister Emily.
In Memoriam A. H. H. is considered one of the single most influential poems of the Victorian age. It was a favorite of Queen Victoria’s and her husband Prince Albert and was so admired by the royal couple that Tennyson was appointed poet laureate the year the poem was published. Throughout the last half of the century, In Memoriam A. H. H. was frequently quoted in church sermons, due to Tennyson’s masterful control of the language and the poem’s mournful contemplation of humanity’s relationship to the eternal. In modern times, the poem is seldom read in its 2,868-line entirety, but individual sections like “Proem” are considered examples of Tennyson’s poetry at its best.
The Poem from In Memoriam A.H.H. Summary

Lines 1–4
The “Proem” for Tennyson’s long poem In Memoriam A. H. H. literally opens with a strong beginning: the word “strong” emphasizes the speaker’s awe and gives the poem a powerful tone. The phrase “Strong Son of God” can be read in two ways. The most obvious of these is that it is a reference to Jesus, who is referred to frequently in Christian doctrine as the Son of God. This emphasis on God’s human element also serves to imply a human subject to the poem, perhaps Arthur Henry Hallam, who is not mentioned in “Proem,” but whose initials appear in the title of the longer poem. Throughout the longer poem, readers find more evidence that Tennyson has drawn a connection between Christ and Hallam, whom he represents as a figure for the higher race of humanity that is expected to develop from Christ’s prophesied second-coming.
The last three lines of this first stanza refer to the unknown aspects of God. Tennyson points out that human faith is based on a lack of direct experience, noting that people believe in God even though they cannot see Him.
Lines 5–8
Ancient and medieval astronomers believed that the Earth was surrounded by a series of transparent orbs, or spheres, that rotated around it, accounting for the change from night to day, which the poem refers to in line 5. Saying that they are God’s is Tennyson’s way of noting that God holds power over all the universe. Even more impressive is the power, noted in line 6, to make life, and the corresponding power to make death. Line 8 uses the image of a foot crushing a skull to show how God maintains control over the life that He has made.
Lines 9–12
Tennyson follows the brutal image of God’s foot on man’s skull with the declaration that God is in fact good and concerned and will not abandon humanity to the mechanical world. There is a slight shift in the voice of the poem’s speaker from line 9, which refers to humanity as “us,” to line 10, in which “man” is referred to as “him.” This shift becomes clear in the rest of the stanza, in which the speaker shows that a normal person feels entitled to more than just death: the poem’s speaker, on the other hand, is willing to accept anything that God decides to do for or to humanity. He has complete faith that, regardless what happens or how it seems at the time, God is just.
Lines 13–16
This stanza addresses one of the most basic

بالتوفيق واتمنى تستفيد

[ملاآآآذ الرووح]

thanks so so so much

يعطيكم العآفيه ويجعل كل حرف حسنه ياآرب..ْ~