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The Go-Between is a novel by L. P. Hartley published in 1953. His best-known work, it has been adapted several times for stage and screen. The book gives a critical view of society at the end of the Victorian era through the eyes of a naïve schoolboy outsider.
The characters of the Walrus and the Carpenter have been interpreted many ways both in literary criticism and popular culture. British essayist J. B. Priestley argued that the figures were political. [2] Walter Russell Mead supposed they represent aspects of Protestant and Transcendentalist societies during Carroll's life. [3]
The poem is an elegy in name but not in form; it employs a style similar to that of contemporary odes, but it embodies a meditation on death, and remembrance after death. The poem argues that the remembrance can be good and bad, and the narrator finds comfort in pondering the lives of the obscure rustics buried in the churchyard.
Austin pointed out that we use language to do things as well as to assert things, and that the utterance of a statement like "I promise to do so-and-so" is best understood as doing something—here, making a promise—rather than making an assertion about anything; hence the title of one of his best-known works, How to Do Things with Words (1955).
Katharine Lee Bates (August 12, 1859 – March 28, 1929) was an American author and poet, chiefly remembered for her anthem "America the Beautiful", but also for her many books and articles on social reform, on which she was a noted speaker.
Modern critics sometimes have referred to Wordsworth's poem as the "Great Ode" [1] [2] and ranked it among his best poems, [3] but this wasn't always the case. Contemporary reviews of the poem were mixed, with many reviewers attacking the work or, like Lord Byron, dismissing the work without analysis. The critics felt that Wordsworth's subject ...
We Real Cool" is a poem written in 1959 by poet Gwendolyn Brooks and published in her 1960 book The Bean Eaters, her third collection of poetry. The poem has been featured on broadsides, re-printed in literature textbooks and is widely studied in literature classes. It is cited as "one of the most celebrated examples of jazz poetry". [1] [2] [3]
The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of How Does a Poem Mean?, John Ciardi speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind ...