http://www.allhonours.ie/answers/ AllHonours Q&A » Tag: english - Recent Posts en Sat, 19 May 2012 13:15:51 +0000 http://www.allhonours.ie/answers/topic/14428#post-75008 Tue, 14 Dec 2010 23:15:06 +0000 raf 75008@http://www.allhonours.ie/answers/ <p>That link doesnt work </p> http://www.allhonours.ie/answers/topic/14428#post-75003 Mon, 13 Dec 2010 22:21:03 +0000 GOOON 75003@http://www.allhonours.ie/answers/ <p><a href="http://leavingcertenglishnotes.webs.com/" rel="nofollow">http://leavingcertenglishnotes.webs.com/</a><br /> follow this link for my leaving cert notes for any part of the course that you are struggling with from a qualified teacher. </p> http://www.allhonours.ie/answers/topic/14428#post-74996 Mon, 13 Dec 2010 21:15:13 +0000 nathan wheeler 74996@http://www.allhonours.ie/answers/ <p>How is the character of Hamlet portrayed as an enigma?</p> <p>Hamlet is an enigma. No matter how many ways we try examine him, no absolute truth emerges. Hamlet breathes with the multiple dimensions of a human being, and everyone understands him in a personal way. Hamlet's challenge to Guildenstern rings true for everyone who seeks to know him: "You would pluck out the heart of my mystery." None of us ever really does. The conundrum that is Hamlet stems from the fact that every time we look at him, he is different in some small way. Our perceptions depend on what we bring to the table. Hamlet is so complete a character that, like an old friend or relative, our relationship to him changes each time we visit him, and he never ceases to surprise us. His being stems from the main conflict the death of his father old hamlet and such an action could be thought as of making hamlet bi-polar. Going from great highs to miserable lows. Therein lays the secret to the enduring love affair audiences have with him. They never tire of the intrigue and the multi-dimensional personality.</p> <p>The paradox of Hamlet's nature draws people to the character. He is at once the consummate iconoclast, in self-imposed exile from Elsinore Society, while, at the same time, he is the champion of Denmark, the people's hero. He has no friends left, but Horatio loves him unconditionally. Although the two he believes are his friends, Rosencrantz and Guildenstern are the two he quickly turns against when he discovers they are working for Claudius. This eventually leads to them being killed leaving hamlet very isolated with his only friend Horatio. He is angry, dejected, depressed, and brooding; he is manic, elated, enthusiastic, and energetic. He is dark and suicidal, a man who loathes himself and his fate. Yet, at the same time, he is an existential thinker who accepts that he must deal with life on its own terms that he must choose to meet it head on. "We defy augury. There is special providence in the fall of a sparrow."</p> <p>Hamlet not only participates in his life, but astutely observes it as well. He recognizes the decay of the Danish society (represented by his Uncle Claudius), but also understands that he can blame no social ills on just one person. He remains aware of the ironies that constitute human endeavour, and he savours them. Though he says, "Man delights not me," the contradictions that characterize us all intrigue him. "What a piece of work is a man. How noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!"</p> <p>Astutely as he observes the world around him, Hamlet also keenly criticises himself. In his soliloquies he chastises himself for his failure to act as well as for his propensity for words. Hamlet is infuriatingly adept at twisting and manipulating words. He confuses his so-called friends Rosencrantz and Guildenstern whom he trusts as he "would adders fanged" with his dissertations on ambition, turning their observations around so that they seem to admire beggars more than their King. And he leads them on a chase in search of Polonius' body. “You’ll not find him but in a short time ye will smell him” He openly mocks the tottering Polonius with his word plays, which elude the old man's understanding. He continually spars with Claudius, who recognizes the danger of Hamlet's wit but is never smart enough to defend himself against it.</p> <p>Words are Hamlet's constant companions, his weapons, and his defences. And yet, words also serve as Hamlet's prison. He analyzes and examines every nuance of his situation until he has exhausted every angle. They cause him to be indecisive. He dallies in his own wit, intoxicated by the mix of words he can concoct; he frustrates his own burning desire to be more like his father, the Hyperion. When he says that Claudius is “. . . no more like my father than I to Hercules" he recognizes his enslavement to words, his inability to thrust home his sword of truth. No mythic character is Hamlet. He is stuck, unable to avenge his father's death because words control him. “What an ass am I? This is most brave, That I, the son of a dear murdered Prompted to my revenge by heaven and hell, Must like a whore unpack my heart with words, And fall-a-cursing like a very drab, A scallion!.” This very character trait is also very connected to his procrastination at not doing the deed he was instructed to do by his dead father. This constant waiting and pausing for thought our hamlets enemies he is choked by his need to be sure and his idleness to kill Claudius. It is only when his own death is assured that he finally takes Claudius’s life. A play on Hamlets destiny perhaps? Only in death can the murder of a king be righted.</p> <p>Is Hamlet in love with his mother? The psychoanalytic profile of the character supports Freud's theory that Hamlet has an unnatural love for his mother. Hamlet unequivocally hates his stepfather and abhors the incestuous relationship between Claudius and Gertrude. But whether jealousy prompts his hatred, whether his fixation on his mother causes his inability to love Ophelia, and whether he lusts after Gertrude all depend on interpretation. He is appalled by Gertrude's show of her pleasure at Claudius' touch, and he clearly loathes women. His anger over Claudius' and Gertrude's relationship could as easily result from a general distaste for sexual activity as from desire to be with his mother. Hamlet could be, at heart, a brutal misogynist, terrified of love because he is terrified of women. He verbally abuses Ophelia, using sexual innuendo and derision, and he encourages her to “get thee to a nunnery”.<br /> Is hamlet mad or merely pretending madness determining all the questions about Hamlet's nature? Could a madman manipulate his destiny as adeptly as Hamlet turns the tables on Rosencrantz and Guildenstern? Perhaps his own portrayal of madness his "antic disposition” that he dons like a mask or a costume actually drives him. Could Hamlet's madness be his tragic flaw? Perhaps, the ghost is a manifestation of his own conscience and not a real presence at all?</p> <p>Is Hamlet a tragic hero at all? Hamlet has no great power, though it is clear from Claudius' fears and from Claudius' assessment of Hamlet's popularity that he might have power were he to mix it among the people. His topple results as much from external factors as from his own flaws. Nevertheless, he certainly does take everyone with him when he falls. Shakespeare created a tragic hero who can appeal to a larger, more enduring segment of the population. Hamlet fulfils the Aristotelian requirement that the tragic hero invoke in us a deep sense of pity and fear, that we learn from him how not to conduct our lives. Hamlet is our hero because he is both confused and enticed by endless dilemmas that come from being, after all, merely human.</p> <p>Always here to help &lt;img src=&quot;http://www.allhonours.ie/answers/bb-plugins/bb-smilies/default/icon_biggrin.gif&quot; title=&quot;:D&quot; class=&quot;bb_smilies&quot; /&gt; </p> <p>Best plan of attack<br /> Nathan wheeler </p> http://www.allhonours.ie/answers/topic/14426#post-74994 Mon, 13 Dec 2010 20:28:28 +0000 nathan wheeler 74994@http://www.allhonours.ie/answers/ <p>thank you very much a big help i must admit</p> <p>Best plan of attack<br /> Nathan wheeler </p> http://www.allhonours.ie/answers/topic/14426#post-74973 Sun, 05 Dec 2010 18:23:47 +0000 Jon Ryan 74973@http://www.allhonours.ie/answers/ <p><strong><em>‘Discuss how Eavan Boland deals with contemporary issues in all her poems.’</strong></p> <p>Eavan Boland wrote her poetry in a time of turblence, not just in her personal life, but in the world around her. Her poetry was born in the time of the Troubles in Ireland, which saw civil strife between Catholics and Protestants, Republicans and Unionists, fighting over whether Ireland should be a republic or included in the United Kingdom. Boland’s life during this time contained similar struggle, which included relationship problems with her husband and serious health problems for her child. Boland’s poetry features this turbulence, which is unique not only in subject matter but also in that such issues are contemporary: years later they can still appeal to and be related to by many, as they focus on themes which are relevant to today’s audience. Some of her poems that show this as LOVE, THIS MOMENT, THE BLACK LACE FAN MY MOTHER GAVE ME, THE WAR HORSE, THE FAMINE ROAD and CHILD OF OUR TIME. </p> <p>As said, Boland’s poetry focuses on the turbulent world she lived in, the Ireland of the 1970s/1980s. Such issues from this time and world are contemporary for today’s audience because they affected how the Ireland of today, that many of Boland’s audience live in, was shaped. Boland looks at events that have shaped Ireland of the present such as the Troubles in CHILD OF OUR TIME. Here she uses the image of an infant, killed by the Dublin bombings of May 17th 1974, the day which had the most casualities of any day of the Troubles, to symbolize the innocent affected by the Troubles. The infant is also used because a later newspaper photograph showed a fireman taking the infant’s dead body out of the debris. Boland tells the child that we ‘must learn from you dead,// To make our broken images, rebuild/ Themselves around your limbs’ and cease such brutal acts to achieve aims. Elsewhere, she focuses on the famine in THE FAMINE ROAD, which caused the mass emigration of much of the Irish population of past generations, due to their sufferings from poverty and overworking which she details: </p> <p>‘Sick, directionless they worked. Fork, stick<br /> were iron years away; after all could<br /> they not blood their knuckles on rock, suck<br /> April hailstones for water and for food?’</p> <p>Boland uses another poem dealing with the Troubles, THE WAR HORSE, to convey how such events are not simply in the moment: they shaped a country and civilisation irrevocably, up to this day. The result of the famine in the twenty-first century is that many of Boland’s Irish audience have relatives abroad in countries such as America, while there are still some deep divides today in Ireland between Catholics and Protestants, caused by the Troubles, despite the Good Friday Agreement. In the WAR HORSE Boland uses the image of a traveller’s horse entering a suburb and harming gardens (‘a leaf of our laurel hedge is torn’) to symbolise the intrusion of violence into Irish life such as with the Troubles. At the end of the poem she remarks of a rose that the horse smashes, ‘Ribbonned across our hedge, recalling days/ Of burned countryside, illicit betrayed’, a comment on how the Troubles still linger in the mindset of the Irish people, and have not simply disappeared like the violence, showing how the events that Boland focuses on are contemporary for today’s audience, as they are still relevant and still affecting of Ireland today, years after they took place.</em></p> <p><a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a><br /> <a href="http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/" rel="nofollow">http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/</a><br /> <a href="http://www.allhonours.ie/notes/" rel="nofollow">http://www.allhonours.ie/notes/</a></p> <p>The rest of the answer is included in an offer for notes on Hamlet, Dickinson and Boland that we are offering to students - check out this offer at <a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a> or <a href="http://www.facebook.com/home.php?#" rel="nofollow">http://www.facebook.com/home.php?#</a>!/event.php?eid=164434733592880 or email us at <a href="mailto:ryjolc@gmail.com">ryjolc@gmail.com</a> for details. </p> http://www.allhonours.ie/answers/topic/14428#post-74971 Sun, 05 Dec 2010 18:13:26 +0000 Jon Ryan 74971@http://www.allhonours.ie/answers/ <p>Hi Raf,</p> <p>I do not have a sample answer at the moment, but here is an an answer structure</p> <p>1) Hamlet - his appeal is because he is intriguing, which is caused by his complex nature: his intrigue comes from the complexity of his character, as he repeatedly contradicts himself, constantly revealing further elements of his personality/ psyche and more questions about his character, rather than answers:</p> <p>1) He wants to avenge his father's death, but cannot: Hamlet longs to kill Claudius (as stated in Act 1) but does not: why? Is he not suited to his task, as he is too thoughtful to complete a task which he realises too many reprecussions of? Or is it for another reason?</p> <p>2) He wants to avenge his father's death, but will not: he has many opportunities (e. g prayer scene) and the evidence to back up the ghost (e. g the play), but he does not kill Claudius until the end. Why not?</p> <p>3) Hamlet appears incapable of evil, but in the prayer scene he seems to have an evil side, as he does not want to just kill Claudius, but give him the greatest punishment possible, which may be the reason he does not kill him. Is Hamlet truly evil?</p> <p>4) He initially fears death and will not contemplate suicide, due to its sinful nature, but as the play progresses he become more preoccupied with it, such as with his 'To be or not to be' speech and his finding of Yorick's skull. We are left wondering why this is so: is he giving up? Is he depressed?</p> <p>5) He appears to include Ophelia in his plan to appear mad, but at her funeral says he loves her. Was/ is he in love with her? Or is this part of a game? Should we criticize him for even using her in death, or pity him because only now can he realise his love for her, when it is too late?</p> <p>John</p> <p><a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a><br /> <a href="http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/" rel="nofollow">http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/</a><br /> <a href="http://www.allhonours.ie/notes/" rel="nofollow">http://www.allhonours.ie/notes/</a> </p> <p>If you are interested, we are holding an offer to send notes on Hamlet, Dickinson and Boland to students - check out this offer at <a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a> or <a href="http://www.facebook.com/home.php?#" rel="nofollow">http://www.facebook.com/home.php?#</a>!/event.php?eid=164434733592880 or email us at <a href="mailto:ryjolc@gmail.com">ryjolc@gmail.com</a> for details. </p> http://www.allhonours.ie/answers/topic/14428#post-74970 Sat, 04 Dec 2010 19:33:11 +0000 raf 74970@http://www.allhonours.ie/answers/ <p>The appeal of shakespeares hamlet lies primarily in the complex nature of the plays central character, hamlet<br /> Anyone have a sample answer on this? </p> http://www.allhonours.ie/answers/topic/14426#post-74965 Fri, 03 Dec 2010 13:22:48 +0000 nathan wheeler 74965@http://www.allhonours.ie/answers/ <p>completly lost with the feminism of eaven boland i despise her in more ways than should be rational but i really need a dig out &lt;img src=&quot;http://www.allhonours.ie/answers/bb-plugins/bb-smilies/default/icon_razz.gif&quot; title=&quot;:P&quot; class=&quot;bb_smilies&quot; /&gt; anyone game?? </p> http://www.allhonours.ie/answers/topic/14407#post-74919 Sat, 20 Nov 2010 00:27:57 +0000 Jon Ryan 74919@http://www.allhonours.ie/answers/ <p>hi Shauna18,</p> <p>focus on each of these points as a paragraph:</p> <p>An attitude to an issue – Usually the majority of the world of a text will hold a certain attitude towards an issue, such as education, personal freedom etc. For example, in the Tempest most characters' personal freedom is ignored, such as Ariel's, as Prospero ignores this and holds him captive. This shows how many in the world are in conflict with their world, as Prospero is not only an individual of the world, but one who holds much power in this world, and can be viewed as the source of power in this place.</p> <p>Social ritual – a social ritual is an act(ion) carried out by many in the world of the text, such as isolating another person. Many characters isolate others in the text, such as when Prospero isolates Ferdinand when he falls in love with his daughter, due to his fear of the relationship developing too quickly. This again shows an individual in conflict with his world, as others around him seek to assert control of him, and prevent him from doing as he pleases.</p> <p>Social structures – examine how the worlds are structured – is there hierarchy? Is one person ruling the order of things? Is everyone equal? Prospero, as shown, is in charge of the world of the play and holds more power than others - look at how this allows him to treat Caliban in a cruel manner, which once again shows conflict.</p> <p>How the cultural context affects the resolution of the plot – finally, consider that characters as mentioned above manage to escape this conflict at the text's end. Is the cultural context overcome at the text's end?</p> <p><a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a><br /> <a href="http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/" rel="nofollow">http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/</a><br /> <a href="http://www.allhonours.ie/notes/" rel="nofollow">http://www.allhonours.ie/notes/</a><br /> <a href="http://www.facebook.com/event.php?eid=103485329723185" rel="nofollow">http://www.facebook.com/event.php?eid=103485329723185</a> </p> http://www.allhonours.ie/answers/topic/14407#post-74918 Fri, 19 Nov 2010 21:15:07 +0000 Shauna18 74918@http://www.allhonours.ie/answers/ <p>Need to write an essay on cultural context in the tempest</p> <p>Title is as follows.... The main characters in the text are often in conflict with the world in which they inhabit. </p> <p>PLEASE HELP!!!!!! </p> http://www.allhonours.ie/answers/topic/11973/page/2#post-74889 Sun, 07 Nov 2010 23:36:28 +0000 Rebel Girl 74889@http://www.allhonours.ie/answers/ <p>Dublin Examining Board - a supplier of mock exam papers</p> <p>Locking this thread cos its one of last years threads! </p> http://www.allhonours.ie/answers/topic/11973/page/2#post-74888 Sun, 07 Nov 2010 18:33:19 +0000 HomeBoy 74888@http://www.allhonours.ie/answers/ <p>what the hell is deb? &lt;img src=&quot;http://www.allhonours.ie/answers/bb-plugins/bb-smilies/default/icon_redface.gif&quot; title=&quot;:oops:&quot; class=&quot;bb_smilies&quot; /&gt; </p> http://www.allhonours.ie/answers/topic/14365#post-74882 Fri, 05 Nov 2010 22:02:11 +0000 Jon Ryan 74882@http://www.allhonours.ie/answers/ <p><em>In your opinion, is Kavanagh successful in achieving his desire to transform the ordinary world into something extraordinary?</p> <p>Support your answer with suitable reference to the poems on your course.</p> <p>Patrick Kavanagh was concerned with transforming the ordinary world into something extraordinary, which is achieved constantly in his poetry, as he finds unique and diverse ways to look upon the ordinary worlds he inhabits, which vary from viewing it from a childish perspective to a religious viewpoint, seen in such poems as EPIC, SHANCODUFF, ADVENT, LINES WRITTEN ON A SEAT ON THE GRAND CANAL DUBLIN, A CHRISTMAS CHILDHOOD, CANAL BANK WALK, INISKEEN ROAD and RAGLAN ROAD.</p> <p>Kavanagh’s life began in rural Ireland, a simple world with little wonder – the norm was a poor physical landscape, with the most pressing matter concerning who owned its various parts. However Kavanagh transforms this meager world into one that can be looked upon with affection and some pride, with an ironic affection for the local milieu, instead focusing on how the world is of worth, rather than only viewing its various defects.<br /> This is seen in EPIC. Despite the admittance that the pressing issues of his rural surroundings are the likes of ‘who owned/ That half a rood of rock’ Kavanagh is not dismissive or rejecting of his world. Rather he is proud of his local milieu and declares that ‘I have lived in important place, times/ When great events were decided’, realizing that Homer made his epics from such simple matters of his world, that ‘Gods make their own importance’ and hence that his world is of some importance. More of the same is seen in SHANCODUFF. Kavanagh here reveals the extremely poor state of the land of rural Ireland. He admits that this cannot be repaired, due to the incorrect aspect – his hills do not face or receive enough sunlight as they face north and thus Kavanagh admits ‘My black hills have never seen the sun rising’. However this does not deter Kavanagh’s affection of them, and rather than worry about their limited potential, he defiantly calls them ‘my Alps’.’ The poor physical landscape of Kavanagh’s world is focused on elsewhere, in ADVENT, introduced with the mention of ‘a black slanting Ulster hill’. Kavanagh lists various elements of this landscape, with their various defects, but for Kavanagh they are of worth. The ‘dreeping hedges’ are not to be neglected for their lack of growth, but rather are notable for their ‘heart-breaking strangeness’. Even the ‘black slanting Ulster hill’ is not remembered for the lack of sunlight it receives, but rather its ‘spirit-shocking/ Wonder’.</p> <p>The rural world inhabited by Kavanagh was one in which religion played a heightened role in life, and religion helps Kavanagh transform the ordinary in his poetry also. As mentioned, Kavanagh’s rural Ireland was a depressing world, with its physical landscape and various issues limited, but Kavanagh manages to see hope for those living in this world, through a religious viewpoint.<br /> In ADVENT there is the suggestion that ‘penance’ will recreate and retrieve ‘the newness that was in every stale thing’ for the individuals of rural Ireland. Kavanagh reveals that if we survive only on ‘the dry black bread and the sugarless tea’ then the world will not appear so monotonous, for ‘after Christmas we’ll have no need to go searching/ For the difference that sets an old phrase burning -/ We’ll hear it in the whispered argument of a churning’. Elsewhere, in A CHRISTMAS CHILDHOOD, it is suggested that religion can achieve the same effect, providing some break from the monotony of rural Irish life – here the nativity here creates wonder for the boy-Kavanagh with such wondrous scenes as when his mother ‘Made the music of milking;/ The light of her stable-lamp was a star/ And the frost of Bethlehem made it twinkle.’ Kavanagh makes a direct link with the comment that ‘Mass-going feet/ Crunched the wafer-ice on the pot-holes,/ Somebody wistfully the bellows wheel’, a relatively ordinary incident which is described in terms of affection. Throughout his life Kavanagh does not forget religion’s power of transformation – even in CANAL BANK WALK, in urban settings, it is suggested once more that religion can provide a challenge to the repetitive nature of life. The poem alludes to baptism and Kavanagh believes that the waters of the canal provide him with a rebirth so that he can ‘Grow with nature again as before I grew’. He declares they are ‘Pouring redemption for me’ and asks the world of the canal to ‘enrapture me, encapture me in a web/ Of fabulous grass and eternal voices by a beech,/ Feed the gaping need of my senses, give me ad lib’. It is suggested that this is necessary for the soul, as it ‘needs to be honoured with a new dress woven/ From green and blue things and arguments that cannot be proven.’</p> <p>As can be identified so far, much of Kavanagh’s transforming the ordinary into the extraordinary is concerned with reshaping the negative into that which is more positive. This is seen in another of Kavanagh’s means of transforming the ordinary into the extraordinary, with his frequent examining of instances when he isolated (a common issue for all), which are changed from pessimistic moments into times of worth for the poet.<br /> INISKEEN ROAD: JULY EVENING centers on the image of the poet Kavanagh, isolated in his village, due to his role of poet which traditionally brought about such an existence. Once the ‘dance in Billy Brennan’s barn tonight’ at ‘Half-past eight’ it is only Kavanagh who is present in the poem – there is ‘no shadow thrown/ That might turn out a man or woman’ – however Kavanagh does not dwell on the drawbacks of the situation and uses the lack of companions to transform himself, declaring that he is now ‘king and government and nation’ of all around him – ‘banks and stones and every blooming thing’ (‘blooming’ referring to that which is natural, and not in a derogatory sense). This is seen again in SHANCODUFF. Kavanagh is once more isolated, for two reasons. The first is that which brought about the same isolation in INISKEEN ROAD: JULY EVENING, his being a poet. The cattle-drovers distance themselves from him, calling him ‘A poet’, and such differentiating must be considered a note on his isolation caused by his calling. He is also isolated due to his inheritance of the seven ‘black hills’ of Shancoduff, which the cattle-drovers mock him for, despite his affection for them: they smugly ask ‘Who owns them hungry hills/ That the water-hen and snipe must have forsaken?/ A poet? Then by heavens he must be poor.’ However Kavanagh, realizing once more that he has no companions, focuses on and reveals his inner strength, rhetorically countering that ‘I hear, and is my heart not badly shaken? RAGLAN ROAD displays this once more. The poem refers to a factual isolation of Kavanagh, when he encountered a twenty-two year old medical student, Hilda Moriarty, who he had a brief liason with but, while he held affection for her, she never matched it. The poem notes such isolation for Kavanagh with such declaration that ‘The queen of hearts still making tars, and I not making hay,/ Oh! I loved too much, and by such, by such, is happiness thrown away.’ However this is a sense that the hurt is not detrimental for Kavanagh, as he admits before the relationship began that such isolation was expected, that ‘I met her first and knew,/ That her dark hair would weave a snare, that I might one-day rue’. Such a revelation once more displays a source of strength in Kavanagh, indicating that a common source of woe has actually had beneficial effects, revealing his strength and ability to overcome such problems.</p> <p>It is of worth to conclude with a focus on Kavanagh’s belief of the worth of the ‘inner child’. He believed that it was of benefit to view the world from a child-like perspective, as it would allow one to view the world in its true and natural form. As Kavanagh transforms the rural world he lived in and his moments of isolation throughout his poetry this childlike perspective is also present, as he provides a childlike view on the world around him, which results in simpler views and of the worlds of his poetry, with heightened praise of these.<br /> In ADVENT Kavanagh declares that ‘penance’ involves charming ‘back the luxury/ Of a child’s soul’. It is only when humankind remembers ‘the newness that was in every stale thing/ When we looked at it as children’ such as ‘the spirit-shocking/ Wonder in a black slanting Ulster hill’ that ‘we’ll return to Doom/ The knowledge we stole but could not use.’ Elsewhere, in A CHRISTMAS CHILDHOOD a childhood perspective is shown once more as of worth – it is only when the child-Kavanagh experiences Christmas that he knows that ‘some strange thing had happened’ and can truly see ‘the wonder of a Christmas townland’, such as when the ‘three whin bushes rode across/ The horizon’ and the ‘stars in the morning east’ dance to his father’s ‘music’ as he plays the melodion. CANAL BANK WALK sees Kavanagh remarking that ‘the banal’ will ‘Grow with nature again as before I grew’, suggesting that returning to view nature in a childish manner is the true way to do so, looking upon ‘the couple kissing on an old seat’ and the ‘bird gathering materials for the nest’: such apparently ordinary things are what makes nature what it is.</p> <p>Kavanagh’s poetry does not deal with extraordinary incidents, places, or people. It deals with ordinary worlds, inhabited by ordinary people who are affeected by ordinary events. However Patrick Kavanagh looks upon these in extraordinary ways, trying to find benefits and alternative viewpoints in the world of the ordinary, which is achieved constantly throughout his poetry.</em></p> <p>We (RyJoLC) are offering free notes for general vision and viewpoint for whatever texts you are studying: email us at ryjolc@gmail if you want notes for your texts.</p> <p><a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a><br /> <a href="http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/" rel="nofollow">http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/</a><br /> <a href="http://www.allhonours.ie/notes/" rel="nofollow">http://www.allhonours.ie/notes/</a> </p> http://www.allhonours.ie/answers/topic/14370#post-74877 Fri, 05 Nov 2010 21:37:47 +0000 Jon Ryan 74877@http://www.allhonours.ie/answers/ <p><em>Interesting questions posed by Boland:</p> <p>- wonders about the world she lives in, and questions the problems that she sees around her, wondering how they detrimental they may be, if they can be solved, and if there is any hope for the world, and if it can be purged of these problems (Child of Our Time, The War Horse, Love)</p> <p>- wonders if certain people who are entrapped can free/ liberate themselves (The Famine Road, The Shadow Doll, Love)</p> <p>These questions are delivered by means of a unique style:</p> <p>- use of the suburbs: Boland uses the suburbs when asking the above questions, which has the effect of showing how universal and relevant these questions are, how the problems and entrapment she spoke about can happen in places her audience can relate to, in places that they reside (The War Horse, The Pomegranate, Love)</p> <p>- language/ imagery: Not only does Boland show how her problems are commonplace, she also shows how they can be exceptional, and happen in unusual incidents also as she uses her language/ imagery to create unusual worlds in which these problems happen (The Shadow Doll, The Pomegranate, The War Horse).</em></p> <p><a href="http://www.ryjolc.wordpress.com" rel="nofollow">http://www.ryjolc.wordpress.com</a><br /> <a href="http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/" rel="nofollow">http://www.allhonours.ie/lc-jc-english-grinds-online-weekly-newsletter-free-online-help-answers-to-every-question-ever/</a><br /> <a href="http://www.allhonours.ie/notes/" rel="nofollow">http://www.allhonours.ie/notes/</a> </p> http://www.allhonours.ie/answers/topic/14385#post-74867 Mon, 01 Nov 2010 17:44:39 +0000 Evocative 74867@http://www.allhonours.ie/answers/ <p>Uh! I tried to do that essay but there wouldn't be a point telling you what I wrote about! &lt;img src=&quot;http://www.allhonours.ie/answers/bb-plugins/bb-smilies/default/icon_confused.gif&quot; title=&quot;:?&quot; class=&quot;bb_smilies&quot; /&gt; </p>