برزنتيشن في تاريخ الادب الامريكي
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رد: help me please :(
مرحباً هنوفه ،،
صباح الخير
اكتبي بقوقل هالجمله و يطلع لك اللي تبين ..
American literature history
وشوفي هذولي بيفيدونك ان شاء الله ....
http://en.wikipedia.org/wiki/American_literature
http://www.munseys.com/diskone/mrclt.pdf
+وهذي ثيمات القصائد :+
** These are the days when birds come back :
This is a Lovely poem, that speaks about nature in a sense that shows
animals instinct for changes in the whether
Dickinson's poem is about the "Indian summers". This usually consists of snow one day, and a summer-like atmosphere the next. The birds have flown south for the winter but the weather decieves them and they return. The "sophestries of June" refer to this deception. Furthermore, "a blue and gold mistake" tells that though the skies are clear, it is winter because the grass is still dead. Mother nature is playing tricks that nearly cause everyone to believe the winter could be over until they see that leaves are falling. The poem is an overview of nature's unpredictability.+
The first two stanzas introduce a change in season that is both sudden and false ("sophistries"). Thus, I believe Dickinson is referring to an Indian Summer, where cold weather is experienced one day and warm the next. Such is why only a few birds are duped into returning from their migration. The "blue and gold mistake" emphasizes this feeling of a change in temperature which should not have occurred, and is seemingly unreal. For some reason "a blue and gold mistake" also brought imagery of death to my mind, which at first seemed out of place, but I believe shares a connection with the Indian Summer. It is the brief, fleeting sense of how winter approaches (death). "Oh fraud that cannot cheat the Bee," seems to say that though this Indian Summer has a few of the birds guessing what season it truly is, such duplicity has not fooled the bees. The next two lines stress that the trickery has "almost" fooled Dickinson as well - here, I must stress "almost." This line also serves as the introduction to what I believe is the theme of the poem - religion and the afterlife - with the word "belief".
As the poem continues, the religious allusions become far more obvious and meaningful. The next stanza brings us back to the change in season with the "altered air." Here, I noticed that the word "altered" also fits quite well with the religious theme. In the last two stanzas the religious allusions are rampant, forming meaning and shape in each line. "Sacrament," "Last Communion," "sacred emblems," "consecrated bread," and "immortal wine" finally brought me to my best understanding of this poem. Dickinson has created a metaphor of the Indian Summer, filled with religious allusions, to discuss faith in the afterlife and the immortality it supposedly grants. I believe that Dickinson is asserting that the afterlife and faith in immortality through heaven, is an illusion much like an Indian Summer. It fools us, with a taste, a hope of life as death is coming, but that inevitably the Last Communion - final judgment before death - is actually nothing more than a chicanery, that immortality cannot be found through religion, for we must remember that the 'Indian Summer' only "almost" fooled her.
** It was not death :
The first thing I would always say about this poem is that it fits into a clear group we can identify within Emily Dickinson’s verse. This poem is not just about death (forever present in her work) but a death-fantasy, and as such it sits with such poems as ‘I heard a fly buzz when I died’, and ‘I felt a funeral in my brain’. In these poems the actual moment of death comes to Dickinson’s imagination in a very powerful, at times almost physical way. It is something she cannot escape from, but in this poem it takes on a distinctive form.
The poem is another record of a moment’s fantasy or dream, a strange moment from Dickinson’s life related in classically accurate but obscure terms. The poem starts with the remembrance of a moment, of thinking herself, of it appearing to her that she is dead: but she is not dead. This is the first of a three ‘appearances’, or false beliefs which start the poem working:
‘It was not death, for I stood up,
And all the Dead, lie down –
It was not Night, for all the Bells,
Put out their Tongues, for Noon.
It was not Frost, for on my Flesh
I felt Siroccos…’
These illusions or delusions the poet goes through ultimately find her recognising that ‘It was not’ any of the things she initially thought, but that ‘It tasted like them all’. As well as the mixed imagery familiar to readers of Dickinson, of the bells of the churches, the natural elements coming through he frost and wind (siroccos) here, the poem becomes a sort of mixed sensory experience which the poet does not seem to be able to resolve. In the first instance this ends in taste, a physical, personal response to her death-fantasy.
The poet continues to employ familiar semantic fields throughout the poem, the deprioritised mixing of religion, nature and personal, physical experience. Perhaps the poet means to suggest the oneness of these things for her; religion is a part of her daily experience, of the way she sees, and nature suggests religion; or perhaps it is the other way around.
But the poem as always is rooted in an almost painfully intimate and observed reference to the self, to the poet and how she feels. We can suggest that the poets interiority, stemming from her almost total self-confinement to her house, led her to be this sensitive template upon which dreams and fantasies acted as if real. Brilliantly, obscurely, she feels after her death-vision that:
‘…my life were shaven,
And fitted to a frame,
And could not breath without a key,
And ‘twas like Midnight, some –
She has become almost two-dimensional, trimmed and clipped down, reduced to an animal, or to nothing; the word ‘frame’ here suggests she is a picture, or at least something on a canvas, a reduced version of real herself, she is something else inhuman; but then she drops the words, ‘could not breath without a key’; she is in a coffin, that is the frame. She is fantasising about being buried alive.
That we are witnessing (or she is witnessing) a funeral can be confirmed by mention in stanza five of the literal space of the occasion, the ‘Grisly frosts – first Autumn morns, / repeal the beating ground’; and the time of death, or rather the lack of time, ‘everything that ticked - had stopped’.
The end of the poem follows the familiar movement from the real, tangible world (if we can call it that) into not heaven, but a derelict Dickinsonian version of it. The poem becomes spacey, escapes its earthly human bonds and jets into genuine obscurity: Chaos, Chance, Despair, all concepts Dickinson is not afraid to approach and which move the poem into the conceptual realm. In the poem here this lift-off, this elevation happens in the last stanza. This is the moment when she is ultimately lost, when she fantasises that moment after death and the eternal question, ‘What comes after?’. For her the answer is one of temperature; we find out that it is:
‘…Stopless – cool –
Without a Chance, or Spar –
Or even a report of land…’
For Dickinson death is being released from anchor into an abyss.
+++
و بالتوفيق ...+ :)
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