هنا جميع طلبات القسم الأدبي 2

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السلام عليكم

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تكون جمل قصيرة................. مقدمة وبراقرافين وخاتمة كل براقراف حوالي 3 اسطر ...

هذا اللي قدرت أحصله ياليت أفدتك.

The central theme of Ozymandias is mankind's hubris. In fourteen short lines, Shelley condenses the history of not only Ozymandias' rise, peak, and fall, but also that of an entire civilization. Without directly stating it, Shelley shows that all works of humankind - including power structures and governments - eventually must pass into history, no matter how permanent they may seem at the apex of their influence. Ozymandias' short-sighted pride seems amusing at first - until the reader realizes that the lessons conveyed are equally applicable today. All things must pass.

Despite its enduring popularity, some Shelley scholars have treated "Ozymandias" as one of the poet's lesser works. One major study, Harold Bloom's Shelley's Mythmaking (1959), doesn't mention it at all; but Bloom intended only to write about Shelley's longer poems and did not address many of his shorter works. Others (e.g. Ana-Maria Tupan, see ref.) treat it as marking a Late Romantic concern with the relationships among life, history, and art that is common to Shelley, Wordsworth, Keats, and Byron.


The 'Younger Memnon' statue of Ramesses II in the British Museum thought to have inspired the poemOzymandias was another name of Ramesses the Great, Pharaoh of the nineteenth dynasty of ancient Egypt. [2] Ozymandias represents a transliteration into Greek of a part of Ramesses' throne name, User-maat-re Setep-en-re. The sonnet paraphrases the inscription on the base of the statue, given by Diodorus Siculus as "King of Kings am I, Osymandias. If anyone would know how great I am and where I lie, let him surpass one of my works."[3] Shelley's poem is often said to have been inspired by the arrival in London of a colossal statue of Ramesses II, acquired for the British Museum by the Italian adventurer Giovanni Belzoni in 1816.[4] Rodenbeck, however,[5] points out that the poem was written and published before the statue arrived in Britain, and thus that Shelley could not have seen it. But its repute in Western Europe preceded its actual arrival in Britain (Napoleon had previously made an unsuccessful attempt to acquire it for France, for example), and thus it may have been its repute or news of its imminent arrival rather than seeing the statue itself which provided the inspiration.

In line 7, the word "survive" is a transitive verb, with "hand" and "heart" as its direct objects. These lines therefore mean that the passions evident in the arrogant and sneering "shatter'd visage" have survived both the sculptor and the pharaoh. The alternative reading makes "fed" intransitive, the sense then being "the heart that consumed" rather than "the heart that gave nourishment." Thus the pharaoh's insatiable heart "fed on" (was fed by) his passions, a common trope of the Petrarchan sonnet and its progeny.

Among the earlier senses of the verb "to mock" is "to fashion an imitation of reality" (as in "a mock-up");[6] but by Shelley's day the current sense "to ridicule" (especially by mimicking) had come to the fore.

In his sonnet Shelley celebrates the anonymous artist and his achievement, and our poet himself survives the ruins of the oppressor by making a tight, compact sonnet out of a second-hand story about ruins in a desert. The lone and level sands stretching far away suggest the desolation that results from the impulse to impose oneself on the landscape. When Shelley says "nothing beside remains," he suggests the nothingness of space around the ruins and of the ruins themselves, and he puns on the ruins as "remains." That there is nothing beside the ruins emphasises their loneliness and desolation, disconnected not only in space – from other physical things, but also in time – from the busy and important context in which they must have once existed, as an interconnected part of an ancient city.

This sonnet is often incorrectly quoted or reproduced.[citation needed] The most common misquotation – "Look upon my works, ye Mighty, and despair!" – replaces the correct "on" with "upon", thus turning the regular decasyllabic (iambic pentameter) verse into an 11-syllable verse, which is a license that is generally avoided unless there is good reason to indulge in it.

السلام عليكم.. لو سمحتم ابغى اي معلومات او تعليقات على

مسرحيه silver box

لا هنتوا جميعا .......

The Theme of the Silver Box



In this simply written play John Galsworthy describes the problems of society in England like poverty the class divisions and the unjustice of the law . He reveals the ills of society through the use of the symbol of the cigarette box . The silver box of the title makes us aware of the imperfect world that we all live in .

The English society is full of hypocrite and unjustice . That is clear when MR.Jones goes to the court with his wife . The judge asks them about the stealing of the silver box , but he does not ask Jack the rich man about the stealing of the purse from the lady . Although the judge knows the truth , he judges Mr. Jones only with a month and leaves Jack goes home .

Also, there is a struggle between classes ,the rich and the poor . The rich people controls the society by their money and power . While the poor class is suffering from poverty and unemployment . The lower class hates the upper class and that is clear when Jones says about Jack that he is a calf and does nothing . Also, the upper class hates the lower class and that is clear when Mr. Barthwick says that the poor want everything for themselves . The upper class cares for her reputation only not for the poor .



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The Plot of the Silver Box



The play of the silver box describes the unjustice in the British society . Jack Barthwick is a rich man who comes home late at night. He is drunk and can not open the door . So, he ask Mr. Jones , the servant's husband to help him to open the door . Jack steals a purse from a lady . He asks Jones to take any thing he likes . Jones takes the silver box .

In the morning Mr. Barthwick and his wife accuse Mr. Jones of stealing this box because she is a poor woman . They send an officer to her room to take her to the court .Her husband tries to defent her and hits the officer . So , the officer takes both of them to the court .

In the court there is no justice . The Magistrate accuses Mr. Jones of stealing the box . But her husband says the truth and tells the Magistrate that Jack asks him to take the box as reward for helping him to open the door . He tells the court that Jack also steals a purse from unknown lady . Mr. Jones defend her husband and tells the Magistrate that if her husband steals , that is because he is drunk . The Magistrate judges Mr. Jones with a month with hard labour . The court leaves Jack goes home although he also steals like Jones . That happens because of the unjustice between poor and rich .



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أتمنى أفدتك t_a_x وبالتوفيق

يعطيك الف مليون عافيه...... ماقصرتي اختي


اي احد عنده معلومات اضافيه لا يقصر.

مشكوره أميره بأخلاقها

والله يوفقك ويعطيك ألف عافيه

ياقلبي .....

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السلام عليكم

ممكن مقالة بالانقلش عن

# الزواج

# الطلاق

# التدخين

تكون جمل قصيرة................. مقدمة وبراقرافين وخاتمة كل براقراف حوالي 3 اسطر ...

]تكفوووووووووووووووووووون بليييييييييييز داخلة على الله ثم عليكم ابغى مساااااااعدة
الله يوفقه ويدخلة الجنة اللي بيساعدني
ابغىى شرح لهالقصائد
thistles by ted hughes

nothing gold can stay by robert frost


virtue by george herbert


break.reak.break by al.fred lord tennyson


death.be not proud by gohn donne
مع الف شكر..........

ممكن شرح لسونيت 30 لشكسبير

zozo16
هذا الي قدرت عليه بالتوفيق

Poem Summary

Lines 1-2

As in Shakespeare’s “Sonnet 29,” the speaker sets up an “if-then” statement by using the word “when.” This allows him to describe his feelings and actions in the present tense, even though he is not experiencing them at the time of composition. The description thus possesses a sort of false immediacy.

The speaker begins to implement a financial or legal metaphor from the word “sessions”; though it generally designates a period of activity, the word also describes the periodic sittings of judges in a court of law. In the next line, “summon up” possesses a similar double entendre: its broader definition is “to call forth,” but it also means “to order an appearance before a court.” The metaphor is continued throughout the sonnet, with words such as “cancelled” (line 7), “expense” (line 8), “account” line 11), and “paid” (line 12). Thus, though “Sonnet 30” tells a rather unspecific tale of a friend in need and a friend indeed, the related metaphors tell their own story: the speaker has incurred debts or the wrath of the law, and only his “dear friend” can get him out of trouble.

Lines 3-4

In these lines, the speaker is in essence “crying over spilled milk,” as the old saying goes. Past losses and problems plague the speaker once again, and the reader can almost hear him stutter and sob, thanks to the tripping rhythm of line 3, and the dragging alliteration and the series of gasp-like stresses in line 4.

“Dear time’s waste,” an emphasized phrase because of its three consecutive accented syllables, may mean a single missed opportunity, a misspent lifetime, or a squandering of valuable time; the reader is left to decide whether time was wasted inside or out of the courtroom.

Lines 5-8

Though he claims that he rarely sheds a tear, the speaker continues to cry throughout the second and third quatrains. The memory of dead friends, lost loves, and faded visions keeps his eyes moist. He seems to hiccup his way over consecutive accented syllables in lines 6 and 7; the profusion of “and”s and “then”s beginning the lines make him sound as if he were blubbering with grief.

Despite the sonnet’s gushing emotion, a Renaissance reader may have found cause to chuckle in line 7. “Woe” and “woo” were homonyms during

Shakespeare’s time; their interchangeability makes the speaker sound as if he has given up on the possibility of love — preferring, perhaps, to wallow in self-pity.

Lines 9-12

The phrase that runs through the third quatrain means little more than, “I continue to dwell on the bad aspects of the past.” The speaker not only stretches this idea, but the language and rhythm of the quatrain as well. Each of the first three lines contains a twice-repeated word that is nearly synonymous with the repeated word in the next line: “grieve” and “grievances” of line 9 are echoed by “woe” and “woe” of line 10, and “moaned” and “moan” of line 11. These words, as well as those of line 12, “pay” and “paid,” are all comprised of long vowelled sounds associated with wailing and weeping. Going back to the figure of speech in line 5, the speaker is indeed “drowning” — in his own language as well as in tears.

The speaker’s actual causes of sorrow remain unknown throughout the sonnet, though the legal or financial metaphor which persists through this quatrain affords one interpretation. For example, a “sad account” may be a sorrowful tale, but it also may be a very sorry-looking record of finances; perhaps the records are so sloppy that the speaker is repaying bills already paid, or perhaps he is being charged an unfortunately high interest rate.

Lines 13-14

The language in line 14 once again suggests that the speaker’s grief may have been related to his financial situation. Perhaps the friend is a wealthy patron; “dear,” used also in line 4, has the meaning “of a high value” as well as “much loved.” The reader of “Sonnet 30” may indeed be this friend: one who has patiently listened to the speaker’s problems, and perhaps rescued him from debt by buying his book of sonnets!









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ANALYSIS SONNET 30



[Line 1]* 'sessions' - the sitting of a court. The court imagery is continued with 'summon up' in line 2. The court motif is used several times by Shakespeare - note Othello 3.3.140: "Keep leets and law days, and in session sit/With mediations lawful?" (Leets = court sessions).

[Line 4]* By replaying his 'old woes' over in his mind, the poet is wasting precious time that could be spent thinking more joyous thoughts. Hence 'my dear time's waste'.

[Line 7]* "love's long since cancell'd woe" is the sorrow the poet had once felt over the loss of his close friends; loss that has dulled over the years but now returns as he thinks of the past.

[Line 8]* Some scholars interpret this line to mean 'I lament the cost to me of many a lost sigh'. "'Sight' for 'sigh' was archaic by Shakespeare's time and seems only to have been used for the sake of rhyme (see OED). Sighing was considered deleterious to health; compare 2 Henry VI 3.2.61-3: 'blood-consuming sighs . . ./Look pale as primrose with blood-drinking sighs', and 47.4." (Blakemore Evans, 142). However, the ordinary word 'sight' also makes sense in this context; that is, the poet has lost many things that he has seen and loved.

[Line 13]* Shakespeare's first use of the term 'dear friend' in the Sonnets.

[Line 14]* His friend is as great as the sum of all the many things the poet sought but did not find.

Sonnet 30 is a tribute to the poet's friend -- and likely his lover -- whom many believe to be the Earl of Southampton. Sonnet 29 proclaims that the young man is the poet's redeemer and this theme continues in the above sonnet. The poet's sorrowful recollections of dead friends are sparked by the lover's absence and can be quelled only by thoughts of his lover, illustrating the poet's dependence on his dear friend for spiritual and emotional support. Notice Shakespeare's use of partial alliteration over several lines to enhance the texture and rhythm of the sonnet. Others could be cited, but here is one example:

When to | the Sess | ions of | sweet si | lent thought
I summ | on up | remem | brance of | things past...

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Shakespeare's Sonnet 30, one of his most famous, is a reflection on sad memories reconciled by the realization of the gift he has in his friend. A phrase from the sonnet, "remembrance of things past," was chosen by C. K. Scott-Moncrieff as the title for his English translation of Marcel Proust's À la recherche du temps perdu.



Synopsis

The sonnet begins by using courtroom metaphors ("session", "summon up" (as a witness), and "cancell'd" (as a debt). The speaker paradoxically describes solitary contemplation as "sweet" despite his inevitable rumination on sad things. Shakespeare grieves his failures and shortcomings ("I sigh the lack of many a thing I sought"), and, although the tragedy is long in the past, he "weep[s] afresh love's long since cancell'd woe". This theme of renewed sadness in contemplation figures prominently in the sonnet.

Then can I grieve at grievances forgone

And heavily from woe to woe tell o'er

The sad account of fore-bemoanèd moan,

Which I pay new as if not paid before.

The sonnet ends with a touching statement that in his thoughts of sorrow, when he thinks of his friend, "All losses are restored and sorrows end." The sonnet is much similar in content and tone to Sonnet 29 ("When in disgrace with fortune and men's eyes...").

[CENTER]t_a_x


virtue by george herbert


http://74.125.39.104/search?q=cache:...lnk&cd=1&gl=sa

thanxxxxxxxxxxxxxxxxxxxxxxxxx alot>>>>

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السلام عليكم ورحمة الله وبركاته

مرحبا اخواني انا حبيت اسألكم عن الثيم لـ هذي القصيده
In A Station of A Metro

by: Ezra Pound

والقصيده بس سطر
The apparation of these faces in the crowd petals on a wet ,black bough

ان شاء الله اقدر احصل الثيم

وشاكره تعاونكم معي [/align]

In A Station of A Metro

by: Ezra Pound


Appearance Vs. Reality


The use of the word “apparition” in the first line is what opens this poem up, extending its reach beyond that of a simple comparison of faces to petals, blurring the lines of reality. We use this word often to describe something that cannot be confirmed to be real, such as a ghost. Although it is similar in meaning to the word “appearance,” the fact that the poet has chosen to use this variation tells us a lot about the mood that he is trying to set: “appearance” indicates more uncertainty, as if a speaker is not sure whether he saw a thing or not, while “apparition” raises the idea that the speaker distrusts the idea of reality altogether. The relationship between the faces and the petals is brought into question in this poem. We cannot say that the flower petals “symbolize” the faces because that word implies that one thing takes the place of another, and since faces on train platforms are common sights there would be no reason to provide a substitute for them. The poem does not say the faces “are like” petals, so it is not a simile: the two things have too little in common to say that they speak metaphorically of each other. It seems almost foolish to mention it, but Pound of course did not mean this poem to be taken literally, as if the speaker had hallucinated flower petals while looking at people. Throughout his life, Pound was concerned with the way that things represent other things and the meaning that is derived from putting them together. If the word “apparition” makes us uncertain about his idea of how the faces and the petals fit together, that is because any two things create a new reality when they are united.

Nature

Pointing out the fact that a completely urban experience such as the rush of people stepping off a train is like a natural occurrence is a way of telling the reader that the industrialized world is not entirely separated from the natural world. We can feel comforted by the positive association of faces with flower petals, which are usually used to represent nature’s most beautiful creations. That comfort, however, is short lived when we realize that the petals are connected to something as heavy and ugly as “a wet, black bough.” What the poem leaves unstated is exactly which part of man’s world is like the bough. It can only be the setting, the metro station. We are led to see the experience of riding the train as somehow being a “wet” experience. Commuting on crowded subway trains can certainly soak one with the oppressive need to follow particular social behaviors and weigh on the soul as much as water weighs down wood. Being an anonymous part of a dense crowd is a very dark existence, so the blackness of the wood is appropriate. Pound touches upon feelings in this poem that seem to be unique to the harshness of modern life, and he tells us that even the most human of activities are part of nature taking its course.

Consciousness

By being so abrupt in shifting from the first image to the second, Pound is letting the reader experience the realization that these people are like flowers in the way that he experienced it. This immediate connection between two things that seem to have nothing in common is a good imitation of how the preconscious mind works. If one takes the time to think about it, the people at the train station actually have little or nothing to do with flower petals. We can analyze their relationship after the fact and come up with a dozen things that the two have in common, but upon first experiencing the poem it is over with too quickly for analysis. The short form that Pound uses is a way of striking his reader with a sharp, vivid image before the conscious mind has time to react: we feel the connection between the two situations immediately, and by the time we get around to thinking about it, it is too late — the poem has already worked its magic. To many readers who are used to poems that inspire ideas, “In A Station of the Metro” often seems to be incomplete, as Japanese haiku often does. The strangeness does not come entirely from the poem’s brief length (although it certainly does not look like the poems that we are accustomed to), rather it is the lack of ideas that makes it seem as if the poet has not fulfilled his duty. Pound purposely frustrates readers who are looking to the poem for something to think about (as students are often taught to do), but he succeeds in getting readers to feel something that goes beyond thought.

(من أنا) أتمنى أني أفدتك هذا اللي قدرت أحصله واللي عنده أي أضافه أكيد يبي يساعد والأعضاء مايقصرون

الأخت العزيزة من انا


ولا تهون الأخت اميرة بأخلاقها

هنا موقع ممتاز وسيفيدك بأذن الله

http://www.answers.com/topic/in-a-st...e-metro-poem-4

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