Robert Frost Figurative Language And Symbolism English Literature Essay

Robert Frost Figurative Language And Symbolism English Literature Essay He begins by saying She is as in a field a silken tent on line 1. The tent here is a metaphor for a woman or women in general, whilst the field in which it is set perhaps represents society and her family. The woman is a silken tent, silken here suggests femininity as opposed to the rough canvas of other such tents. The centre pole symbolises the soul of the woman, whilst her personality is represented by the capricious breeze that causes the tent to move and sway, reflecting her limited freedom. Like a tent, a woman also has strong support inside of her, being her spirit, which has constraints on her freedom in a similar way the guy ropes would hold the silken tent in place. Frost has cleverly reflected the relationship between a tent and a woman in the form of the poem. The poem is one long, graceful sentence that is completely free and relaxed in its manner, whilst being held within the strict boundaries of the Shakespearean sonnet form. In the same way, the poem describes a woman whose life unfolds in a very relaxed, natural way, within numerous strict boundaries. The tent metaphor works perfectly to represent a woman, as the tent seemingly stands alone in complete freedom, until the sway causes the guy ropes to apply gentle pressure and she is sharply reminded of her responsibility as duty calls her to go back to her place. It reflects the idea that there is bondage in the life of this woman, meaning that ultimately she is free but within her confinement. Although she is not strictly held, she is like the tent loosely bound with countless ties that are revealed when a capricious breeze comes into play. As the wind blows, symbolising the idea that chaos will happen, the woman remains strong, maintaining her femininity and beauty. Another interpretation through the symbolic language could be suggesting a relationship between a man and a woman. Like silk, the woman is light, smooth and precious, like the relationship they share. The spiritual dimension of their relationship is obvious within the language as Frost writes, its supporting central cedar pole, That is its pinnacle to heavenward. The pole also represents the masculine strength and support for the feminine side, which is the silken tent. It could be interpreted that there are sexual connotations behind the imagery of the silken tent and the central pole being the pinnacle to heavenward. The tent is imagined At midday when a sunny summer breeze Has dried the dew, any morning dew which would have soaked the tents guy ropes to make them taut have evaporated, and the ropes are now gently swaying. At a subconscious level, this imagery conveys a sense that the woman being described is not tense or nervous, but is relaxed and comfortable to be around. It does not reflect the idea that the woman is blown around by every bit of wind, but is strong. The womans job in a sense is to be warm and pleasant, a sunny summer breeze. On line 13,capriciousness of summer air signifies the naughty, more playful side of the woman, summer air being the more passionate side to her nature. The tents pole conveys the strength and almost backbone of her character, being able to be free within her confinement with happiness. Her character derives in part from her deep attachment to friends and family, from countless silken ties of love and thought. It symbolises the idea that she is very much a t ease in her situation; her relationships do not entangle or bind her to limit her freedom. Although the poem sounds relaxed and peaceful, like the sunny summer breeze, the underlying message is about the bondage of women in silken ties to family and society in general. The main symbol shows that women are tied in place by their love, loyalty and trust to everything around them, be that their family or society. The last line is seemingly important, slightest bondage, showing here that the woman is owned by the man and those in her life, ultimately she will never be completely free from the ties and poles holding her down. La Belle Dame Sans Merci was written by John Keats in the early 19th century, towards the end of the Romantic period. It is ultimately about the dangers of obsession, mainly that of a romantic or erotic kind, but looking closely comparisons can be drawn between this and Robert Frosts The Silken Tent. One of the biggest symbols Keats explores within La Belle Dame Sans Merci is that of nature and flowers. He uses the nature of the knights surroundings to add to the tone of the poem, creating a desolate and empty setting. On line 3, the speaker says, The sedge has witherd from the Lake This suggestion of it being autumn adds connotations of old age and imminent death, suggesting the inevitable outcome of the Knight by the end. The suggestion that it is autumn is made clear by line 4, no birds sing. The absence of birds makes the setting seem bleak and isolated. This leaves an empty setting where the unknown speaker and the knight are seemingly the only two living things amongst the landscape. Keats purposefully chose this as his setting to mirror the knights own emotional desolation.

Briefer and Deeper: A Comparative Analysis of Depth-Oriented Psychother

Briefer and Deeper: A Comparative Analysis of Depth-Oriented Psychotherapy Introduction The use of psychotherapy in decidedly time-limited contexts is the hallmark of modern trends toward maximizing effectiveness and minimizing costs in the realm of health and mental health treatment. Although clients have historically utilized therapy for brief intervals (an average of 8 sessions), the use of models designed for this purpose is comparatively new. There is an ever-widening breadth of approaches - both formerly long-term designs modified to require fewer sessions and those born with the goal of brevity. Despite the diversity in brief psychotherapy (BPT) approaches, each therapy tends to be based on similar fundamental assumptions and general themes. For example, it is widely believed that a skillful therapist can affect useful changes in the lives of clients - changes that continue to build long after the treatment ends (Messer & Warren, 1995). These therapies also include root metaphors or ideas of where human difficulty arises, a set of curative factors, and an image of what it means to be mentally healthy (Borden, 1999). Finally, in an effort to address client issues briefly, the articulation of a clinical focus is seen as essential and can range from present day relational problems to underlying struggles with drives and anxiety - depending on the theoretical orientation. In comparison, Bruce Ecker and Laurel Hulley's Depth-Oriented Brief Psychotherapy (DOBT) model presents a slight variation to what has become the customary brief approach. DOBT is composed of techniques organized around the idiosyncratic, unconsciously held meanings of each client. Thus, there is no set formula or core dilemma to be address... ...ard theoretical pluralism in clinical practice. Most importantly, however, is DOBT's reassuring techniques which allows its clients a new, more coherent knowledge of themselves which leads to a deep and exquisite form of healing. References Borden, W. (1999). "Pluralism, pragmatism, and the therapeutic endeavor in brief dynamic treatment. W. Borden (Ed.) The therapeutic endeavor in brief dynamic treatment: Theory, research, practice, commentary. Haworth Press, New York. Ecker, B. & Hulley, L. (1996). Depth-oriented brief therapy: How to be brief when you were trained to be deep and vice-versa. Jossey-Bass Publishers, San Francisco. Ecker, B. & Hulley, L. (1999). Depth-oriented brief therapy. [Online]. Available: www.dobt.com Messer, S. & Warren, C. (1995). Models of brief psychodynamic therapy: A comparative approach. The Guildford Press, New York.

Hamlet vs Agamemnon Essay

In my opinion, the play Hamlet is more tragic than Agamemnon. They are both tragedies as they both fulfill Aristotle’s definition of tragedy as they both depict the downfall of a basically good person through some fatal error or misjudgment, which produces suffering and insight on the part of the protagonist and arousing pity and fear on the part of the audience. They also have all the elements of Greek tragedy such as hubris, catharsis, peripeteia, anagnorisis, and hamartia (â€Å"Ancient Greek Tragedy†). The most important reason that Hamlet is more tragic, in my opinion, is because the protagonist, Hamlet, is an integral part of the play and his character is much more developed. In Agamemnon , the protagonist, Agamemnon, is a secondary character to his wife who, in my opinion is the main character. Hamlet is a tragic hero, as is Agamemnon, following Aristotle’s criteria for the elements of a tragic hero. For example, they both evoke the audience’s pity and fear, have a major flaw of character and are destined to fall in some way (â€Å"Tragedy in Drama†). However, because Hamlet is the main character, we see, hear and understand more of his character. When Hamlet delivers his many dramatic soliloquies about mortality, betrayal, and the futility of life, he shows us his tortured world and the anguish, grief, and uncertainty which eventually takes over his life, leading to his death (â€Å"Hamlet Tone†). As the reader, I felt so much sympathy for Hamlet and this made the play more tragic. On the other hand, the reader knows more about Agamemnon from the Chorus and other characters, rather than from the character himself. The reader has much less insight into his personality and feelings and I found that, as the tragic hero, he lacked the emotion of Ham let.

When to Use the Chinese Term 不好意思 Bù Hǎo Yì Si

The Mandarin Chinese phrase ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ hÇŽo yà ¬ si)  is frequently used in Chinese culture as a way of saying excuse me, embarrassed, or â€Å"sorry.† The literal translation of ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬ Ã‚  (bà ¹ hÇŽo yà ¬ si) is â€Å"not good meaning.† Here are examples of instances in which it would be appropriate to use this phrase.   Receiving Gifts The Chinese tradition of gift-giving demands that the gift is first refused, and finally accepted with è ° ¢Ã¨ ° ¢ (xià ¨ xie) or ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ hÇŽo yà ¬ si). Using the latter phrase conveys a sense of being abashed, like using the term you shouldnt have or theres no need in English. This dance of giving and receiving gifts is done for any type of gift, including picking up the tab in a restaurant. Apologizing ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ hÇŽo yà ¬ si) is also used as a casual apology. The phrase could be used, for instance, if you bump into someone on a crowded subway or if you have kept customers waiting. In these scenarios, ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ hÇŽo yà ¬ si) means something akin to excuse me or sorry.   Similarly, you can say ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ hÇŽo yà ¬ si) when you need to interrupt someone for a question, such as asking for the bathroom, directions, or a similar favor. You can say ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬ , è ¯ ·Ã©â€" ®... (bà ¹ hÇŽo yà ¬Ã‚  si, qÇ ng wà ¨n), which means Excuse me, but can I ask...   When apologizing for more serious inconveniences, you can use the phrase  Ã¥ ¯ ¹Ã¤ ¸ Ã¨ µ · (duà ¬ bà ¹ qÇ ) which means Im sorry. For really serious mistakes that call for an apology, you can use the phrase  Ã¥Å½Å¸Ã¨ °â€¦Ã¦Ë†â€˜ (yuà ¡nlià  ng wÇ’) which means forgive me.   Character Traits Because ä ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ hÇŽo yà ¬ si) can also mean embarrassed, the Chinese phrase can be used to describe a persons characteristics. For example, if someone is shy and easily embarrassed, you could say ä »â€" (male) / Ã¥ ¥ ¹ (female)  Ã¤ ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (tÄ Ã‚  bà ¹ hÇŽo yà ¬ si). This means He / she is embarrassed. Likewise, if you are trying to encourage someone to be less bashful, you can say ä ¸ Ã¨ ¦ Ã¤ ¸ Ã¥ ¥ ½Ã¦â€ž Ã¦â‚¬  (bà ¹ yà  o bà ¹ hÇŽo yà ¬ si), which translates to dont be shy.