Meaning of Life and Literary Metaphorical Descriptions Essay Example for Free

Which means of Life and Literary Metaphorical Descriptions Essay Stuck and fastened with no propensity of where your life is going, requires important exertion to experience. This is the circumstance for the primary character in Wiliam Lychacks short story, Stolpestad. With no whereabouts of his life headings, Stolpestad run over his own life through upsetting showdowns of his own character misfortune. â€Å"This is your life, Stolpestad† Stolpestad finds that his life gone dreary, holding up towards the finish of each move, lying and giving a reason to delay his appearance back home to his better half and his youngsters. Passing through the city, Stolpestad longs after his life in the town as youngster. â€Å"You inactive moderate and legitimate past the house as though to see a person or thing †yourself as a kid, maybe. † Though Stolpestad knows about the essential in his nonattendance back home, he chooses to go to a bar. At the bar he is recounting stories, spreading giggling, about his prior dilemma with shooting the enduring canine. Stolpestad appears to be brimming with certainty re-recounting to the story, however in the specific circumstance he was apprehensive and delicate: â€Å"with this expectation that she’s effectively dead-that abrasive of bugs in the warmth and grass as you poke her once more. You push until she becomes animated, her educational moderate and dark to you †you with this expectation that the kid will be running any second to you currently, hollering for you to stop. † He wish the pooch to as of now be dead, or that the kid will come hollering him to stop. This anxiety of his comes really to life when the kid and his dad are facing him, and the encompassing noices terrifies him: â€Å"It’s just an entryway opening †yet look how anxious you are†. Stolpestad sees this showdown as a truly awkward circumstances, and feel that it is a rehashing component in his life, which is portrayed in this passage: â€Å"the a sensation that this has happened before of a pickup truck in the carport as you pull around the house, as though you’ve seen or envisioned or experienced the entirety of this be-front, or will be through everything once more, finished and over†. We can decipher this, from the way that Stolpestad continues running into these unsavory circumstances. Putting down an enduring canine transforms into an accidental damage to the perishing hound, the kid and his dad and himself. The fruitless execution and the endurance of the enduring pooch, Goliath, can be viewed as an allegory for Stolpestads life. The life of the canine Goliath and Stolpestads life are going a similar way, Goliaths enduring is an impression of the enduring in Stolpestads own life. Gorge is gravely harmed and it is simply an issue of time until its’ life will peg out, however much after what should be a simple put down, the canine stays alive. Stolpestad is neither harmed or close to death. Stolpestad is gotten between the decisions whether he will seek after his importance of life or desert this world. He is stuck as his very own onlooker life, as the perishing hound Goliath is an observer of its’ own demise. The injury of the canine can likewise be deciphered as an analogy for the earth and the town Stolpestad lives in. The Christian story of â€Å"David and Goliath† bargains for Goliaths purpose with the subjects cynicism and disappointment. The moniker â€Å"Gully† is an equivalent for a sewer. That implies, that the canines name in the two significances alludes to something including corruption and poor environs. Goliath lies on all the waste on the families inside the families’ premises and represents the poor social condition that the family hails from. The family is packed by this insufficiency in the general public, which the canine and its name represent. The sentence: â€Å"The old tires, void jugs, paint jars, corroded vehicle pivot, cooler door† embodies what poor condition the family is a piece of. The earth of the dad may likewise clarify the reason for his unexpected commendations of Stolpestads house: â€Å"He lets out a long moan and says it’s a fine spot you appear to have here†. Still this higher association of society doesn't fit Stolpestad, and it doesn't appear as though he has been in this complexity to the lower group of society his entire life, which additionally may cause the compassion he has for the kid. The kid can be deciphered as a figment of Stolpestad as a kid. In the early start of the short story, Stolpestad is driving around cruel, searching for something †perhaps himself as a kid, and after the gathering with the kid, he rapidly considers understanding of his life circumstance. This might be caused of Stolpestads own childhood, that may have been troublesome, however he despite everything may miss: â€Å"Back to all the turns you were conceived, as long as you can remember spent along the equivalent miserable streets† The sort of storyteller being utilized in the story is a â€Å"second individual narrator† who keeps in touch with a certain â€Å"you†. Our â€Å"you†, who our storyteller guides itself to is the fundamental character of the story, Stolpestad. Despite the fact that it is Stolpestad the storyteller direct itself to, the peruser wants to be addressed, when this account point of view is being utilized: †Was close to the furthest limit of your shift†. Along these lines a book includes and influences its peruser in an entire other level. It is difficult to decide whether the storyteller is a real figure or thoroughly missing all through the story. The storyteller doesn't explicitly show up all through the story, however certain things point to the narrators’ appearance: †away we go†. Still it is dicey and obscure, who the storyteller might be, as the short story doesn't give an unequivocal clarification of who the storyteller may be. The language is both emblazoned of slang and afterward the more artistic figurative portrayals. This shows, how the storyteller has authority of changing the style when it fits him. Along these lines it is a blend of the lower style and a formal scholarly style. Stolpestad is carrying on with a real existence that just cruises by, without him making any move, and accordingly he feels like as long as he can remember just comprises of ceaseless redundancies. He is living in a similar environmental factors as he did in his childhood and during his youth so in this way his outside rams haven’t changed, however he has gotten more established. In this way everything feels conspicuous and exhausting for him. With the portrayal from a second individual storyteller, who sees Stolpestad from an outside point of view, we can interface this to the understanding of him as a detached person. He isn't even possessing the position to recount to his own story, however is having it told by another storyteller meddling and making a decision about him contrarily. Here too he remains without impact, yet may latently let the storyteller relate his story, while he himself should be an observer to his own life. So don't simply let life cruise you by.

Aeneas and Dido Essay

In this paper I will look at the qualities of the characters Aeneas and Dido as they show up in the primary book of the Aeneid. In the principal book of the Aeneid, Virgil presents Aeneas. Aeneas is demonstrated to be a Trojan saint and sovereign who endure the attack and sacking of Troy and figured out how to lead a band of survivors to security. Aeneas is the child of Anchises and the goddess of affection, Venus. In the wake of battling in the Trojan War, Aeneas got away after the Greeks sacked the city, driving a little band of survivors on a journey to discover Latium, where, it had been uncovered, the relatives of Aeneas would found the beginnings of the Roman Empire. In the wake of leaving Sicily, on what the Trojans accept to be the last phase of their excursion, Juno sends a tempest, which wrecks a portion of the boats and disperses the rest. She does this since she accepts a race plunged from the Trojans will devastate her adored city of Carthage. After the tempest, Aeneas advances toward the shores of Libya, where he is met by is mother, Venus, masked as a huntress. She advises him to make for the city of Carthage. There he is invited by Queen Dido, and rejoined with the remainder of his supporters who have endure the tempest. Dido welcomes the Trojans to an incredible meal where Venus organizes that Dido will begin to look all starry eyed at Aeneas. Aeneas shows numerous characteristics that make him stick out. These incorporate characteristics related with administration and furthermore others. These characteristics are:  Responsible Leader †Aeneas is the pioneer of the gathering of survivors and he takes on those duties. For instance, after arriving on the shores of Libya, it is Aeneas who moves to a vantage point to attempt to learn of the area of the remainder of the armada, â€Å"Aeneas ascended a stone, searching for a decent view out over the ocean, in anticipation of seeing Trojan boats. † He is additionally the person who goes out to investigate the encompassing area, â€Å"As soon as the caring light of day permitted, he resolved to set out and investigate this peculiar nation, to discover where the breeze had brought them. †  Provision for his men †Tying in with the capable pioneer point, Aeneas is consistently the one to accommodate his men. One of the principal things he does in the wake of setting up camp on the shores of Libya is to discover nourishment for his men, â€Å"He continued shooting until he’d triumphantly extended on the ground seven extraordinary (deer) bodies †one for each of the ships† * Encouraging †Aeneas offers discourses to rouse and empower his men. One of the main instances of this is when Aeneas gives a discourse to support and cheer up his men after they have been assaulted in a tempest and given occasion to feel qualms about an obscure shore. â€Å"My companions, we’ve known difficulties enough previously, and we’ve endured still more regrettable: god will stop these as well. You cruised directly past that distraught Scylla and her profoundly resonating natural hollow: you endure the Cyclops’ rocks. Cheer up! Enough of distress and dread! At some point, maybe, even this will be something acceptable to recollect. Whatever the debacles we meet, whatever the emergencies we experience, our objective is Latium! The Fates point to a home for us there, and harmony. There a realm of Troy can rise by and by. Don’t surrender now! Spare yourselves for the beneficial what might be on the horizon! † Aeneas utilizes attempting occasions that the survivors have just experienced to urge them to go on. Enthusiastic †Aeneas is passionate however he attempts to shroud his emotions on the off chance that they would harm the spirit of his gathering. For instance Aeneas is lamenting over the loss of his companions and devotees in the tempest sent by Juno, however he â€Å"buried the sadness somewhere down in his heart† and gave a discourse to move and support his men.  Commands regard †King Aeneas is regarded by his supporters. Ilioneus commends him to Queen Dido â€Å"No man has been all the more just or loyal, nobody more prominent in war and battling. † Self-Pitying †This ties in straightforwardly with the passionate point. Aeneas, in spite of being a valiant and great pioneer, sometimes goes into episodes of self indulgence. One of these is the point at which he is trapped in the tempest sent by Juno. He shouts out, wishing that he had kicked the bucket a â€Å"hero’s death† on the fields of fight at Troy, as opposed to endure in the tempest. â€Å"You were the fortunate ones,† he cries, â€Å"three times fortunate and the sky is the limit from there, who had the favorable luck to pass on under the dividers of Troy, before the eyes of your dads! Why couldn’t I have kicked the bucket and yielded my spirit to Diomede, most intrepid of the Greeks, on the Trojan Plains? †  Warmth †When Aeneas meets Dido he shows warmth towards her. He praises her and says thanks to her for her proposal to permit the Trojans to live in Carthage. â€Å"What brilliant age would you say you were conceived in? What incredible guardians created such a girl? For whatever length of time that streams stream down to the oceans, as long as the shadows clear over the mountains, and the sky keeps the stars land, your name will live for ever in respect and praise†.  Flattering †Aeneas is beguiling. Aeneas, not at all like Odysseus of Homer’s Odyssey, doesn't utilize adulation to accomplish gains, however simply to beguile the individual he is conversing with. When he meets his mom, Venus, camouflaged as a huntress he praises and compliments her, â€Å"Your face is no humans, no more your voice; you should be a goddess †Apollo’s sister, or one of the sprites? †  Capable of profound respect †Aeneas perceives the beneficial things about the city of Carthage and he appreciates the manner in which the city is constructed. â€Å"Aeneas was feeling overwhelmed, looking hypnotized and lost in these brilliant pictures†. This gives us that Aeneas isn't egotistical and is fit for perceiving excellence and enormity. In the principal book, Virgil additionally presents Dido. Dido is the Queen and author of Carthage, the city where Aeneas ends up after the tempest. Dido begins from Tire, where she was hitched to the most extravagant of all men in the land, Sychaeus. Dido adored Sychaeus and was dedicated to him. Dido’s sibling was the King of Tire and he was a man of unmatched insidiousness. His name was Pygmalion. At some point, blinded by covetousness, Pygmalion chop down Sychaeus while he was flat footed, supplicating at the raised area. Pygmalion at that point attempted to shroud his wrongdoing, palming Dido off with lie after falsehood. In any case, the phantom of the dead man appeared to Dido in a fantasy, he advised her of all that occurred, demonstrating the blade twisted in his chest. The apparition encouraged Dido to get away from the nation in scurry, uncovering to her the area of an obscure crowd of lost fortune. Dido assembled her companions and haters of the lord and took an armada of boats, cruising abroad with Pygmalion’s treasure securely put away ready. They went to a spot in the north of Africa where they purchased land â€Å"as much as a bull’s cover up would surround† and there they established a city, the city of Carthage. Dido likewise shows numerous good characteristics. A portion of these are:  Beauty †Queen Dido is wonderful. She is contrasted with the goddess Diana, â€Å"Just like (Diana), Queen Dido was cheerfully traveling through her squires to encourage on the work, to hurry her future domain. † Concerned for the resistance of her city †Queen Dido places watches around her city to ensure it. She discloses for what reason to Ilioneus, â€Å"My city is youthful: that’s why I need to do such things, and watchman every last bit of my frontiers†.  Knowledgeable †Queen Dido knows about undertakings outside her realm, even as distant as Troy. She is aware of the Trojan War and of Aeneas, â€Å"who has not known about Aeneas’ men, of the city of Troy, the fearlessness of its legends, and the flames of its horrendous wars? Our Carthaginian brains are not as dull as that, nor is our city so cut off from the remainder of the world! †  Hospitable †When the Trojan survivors show up, Queen Dido offers them food and wine. The Queen likewise sends food down to the survivors stayed outdoors on the shore, â€Å"She sent twenty bulls to his partners down on the shore, a hundred colossal, bristly-sponsored pig, a similar number of ewes and fat sheep, and blessings of wine to charm them. † Queen Dido even offers the Trojans a lasting home in Carthage, where they are to be treated as equivalents, â€Å"This city I’m building, it’s yours. Take up your boats. Trojan or Tyrian I’ll treat you the equivalent. † * Warmth †Queen Dido shows warmth and love to Aeneas and his child. She embraces them and is moved by their blessings to her. â€Å"Fondly she embraces him (Aeneas’ child), over and over to her breast†. * Fair and Just †Queen Dido is reasonable for every one of her subjects. She allots obligation and work similarly and she makes reasonable and just laws. The manner in which Virgil presents Aeneas and Dido in the primary book of the Aeneid makes the likenesses between them simple to recognize: They have both endured hardships and have in this way been driven away from their local terrains; the two of them are on journeys to establish new urban areas for their kin; the two of them show particular authority characteristics; they are both equipped for love and warmth. It is these similitudes between the two that makes it simpler to distinguish them as both being the saints in the book.

Hypothesis and Research Question Case Study Example | Topics and Well Written Essays - 1000 words

Speculation and Research Question - Case Study Example For this paper, I expect that more is revealed to comprehend the advantages, the outcomes, and in particular, the difficulties of this new addictive mechanical method of imparting. It is fascinating to take note of that despite the fact that the youthful age specifically will in general appreciate most the advantages of Facebook and twitter, the writing audit has concentrated on the risks of being dependent via web-based networking media. This has brought about online interpersonal interaction and requests expanded responsibility and guideline of suppliers of the two significant destinations. Early surveys or studies proposed that online correspondence effectsly affected the client by diminishing up close and personal contact and expanding the degree of dejection. Later investigation shows that online life fixation prompts another age with egocentric-based way to deal with life, overdependence, and the dependence just acts to intensify these outcomes (Zemmels, 15). Using the Survey strategy and substance examination technique for explore, I anticipate that an enormous level of facebook and Twitter addicts will in general go through not exactly an hour on the destinations every day. The most energizing part is the thing that the media addicts do to remain on the web however they could have had awful encounters. Be that as it may, such encounters are overseen through methods, for example, obstructing the upsetting individual from reaching, showing that such encounters make them to think about instruments to keep away from the terrible encounters in future so as to proceed with a similar business on the destinations. Content investigation: It involves a blend of quantitative and subjective research strategies that attention on messages, making it capable for clients to measure data by utilization of recurrence tallies and rates. Any sort of substance can be broke down, including center gatherings, TV programming, meetings, articles, and news discharges. The populace that would be utilized for the exploration are commonly web based life clients who progressively use Facebook and

Architecture and Commerce-Free-Samples for Students-Myassignment

Question: Carson Pirie Scott Department Store, Louis Sullivan 1904. Answer: Presentation Carson Pirie Scott Department Store was the principal working in the nineteenth century that fused the word high rises in the city of Chicago1. The products of another flourishing are delighted in when the first lights of illuminated perspectives get through the dull issues that encompass us in this manner making another opportunity for the mankind Carson Pirie Scott Department Store breaks the dreariness of hordes of the tall structure along State and Madison Streets of Chicago. The structure is developed of bronze on the ground floor with the veneers completed on wide white. Carson Pirie Scott Department Store The structure serves to outline the connection among engineering and business. Being a draftsman of the neoclassical occasions, Sullivan kept up his expression of structure follows work in his plan work. He in this manner turned to thinking of a structure that mirrors the social capacities that are to be served by the space2. This was after he broke down the difficulties of skyscraper business design. He shows his way of thinking through depicting a perfect tripartite high rise in which the primary level which is the base level is the ground floor that houses business exercises. The simplicity of free, open space and light overwhelm. The subsequent level is gotten to by general society through the3 flight of stairs. The following level includes workplaces which have a similar plan since they serve a similar capacity. As was contended by a portion of the innovator draftsmen of the time, Sullivan based his structure accomplishing a greater amount of usefulness than excellence. It is conceivable to fabricate a lovely structure however around then Sullivan went for a structure that is appalling yet practical instead of simply raising just faade design. Sullivan delineates his way of thinking in the structure of Carson Pirie Scott Department Store in which he offers accentuation to the lower road level and passage that pull in customers into the store. He accomplishes that by utilizing extremely huge windows on the ground floor utilized in showing items, putting the three entryways that fill in as the passageway inside an adjusted inlet at an edge of the site4. The arrangement of the entryways makes them obvious from any bearing when one is moving toward the structure. References Giedion, Sigfried. Space, Time and Architecture: The Growth of a New Tradition. New York: Harvard University Press, 2013. Siry, Joseph. Carson Pirie Scott: Louis Sullivan and the Chicago Department Store. Chicago: University of Chicago Press, 2015.

The Long-Term Health Effects of Marijuana

The Long-Term Health Effects of Marijuana Addiction Drug Use Marijuana Print Long-Term Health Affects of Smoking Marijuana By Buddy T facebook twitter Buddy T is an anonymous writer and founding member of the Online Al-Anon Outreach Committee with decades of experience writing about alcoholism. Learn about our editorial policy Buddy T Updated on November 23, 2019 David Sutherland Collection/Photographers Choice/Getty Images More in Addiction Drug Use Marijuana Cocaine Heroin Meth Ecstasy/MDMA Hallucinogens Opioids Prescription Medications Alcohol Use Addictive Behaviors Nicotine Use Coping and Recovery We’ve come a long way from the days when smoking marijuana was strictly a hush-hush activity. From increasing acceptance of recreational products made from pot to the use of medical marijuana to treat symptoms such as pain and nausea from chemotherapy, more and more people are being open about the role marijuana plays in their lives. But although theres less secrecy around marijuana use, it doesn’t necessarily mean it’s safeâ€"at least not for folks who smoke pot for fun. Scientists  don’t how long-term pot puffing affects the body, but there are studies that suggest it can cause several health problems over time. For instance, preliminary animal and human studies suggest smoking marijuana can put a damper on the  immune system. Here are three other health problems that may be linked to using pot. Breathing Problems Although marijuana and tobacco are two entirely different substances, smoking either has similar effects on the lungs. These can be more severe for pot smokers because they tend to inhale more deeply. Whats more, in order to bring about a high, they tend to hold the smoke in their lungs for as long as possible. This increases the amount of smoke the lungs are exposed to, putting them at even greater risk of certain respiratory problems  than tobacco smokers. For example, they may have increased production of phlegm leading to frequent coughing, and they may be especially prone to obstructed airways. Pot smokers also are at greater risk of chest colds and lung infections. When researchers in California analyzed the health records of 450 people who smoked marijuana (but not tobacco) daily, they found the  marijuana smokers  took more sick days off from work and had more doctor visits than did a similar group of subjects who did not smoke either tobacco or pot. Lung Cancer While coughing and colds are at the most annoying and inconvenient side effects of smoking marijuana, an increased risk of lung cancer is a life-threatening one. Marijuana smoke  contains some of the same cancer-causing compounds as tobaccoâ€"sometimes in higher concentrations. Given the way pot smokers hold in smoke after inhaling it, it’s easy to see why, puff for puff,  smoking marijuana  may increase  the risk of cancer more than  smoking tobacco  does. Studies show that someone who smokes five joints per day may be taking in as many cancer-causing chemicals as someone who smokes a full pack of cigarettes every day. The important word here is “may.” Its a challenge for researchers to figure out whether cannabis alone causes cancer because many people who smoke pot also smoke cigarettes and use other drugs.  Tobacco smoke and marijuana smoke  may work together to change the tissues lining the respiratory tract. Testicular Cancer Smoking marijuana may  be particularly dangerous for men in the long term. A number of studies suggest a link between an increased risk of testicular cancer, the most common cancer among males under 45. In one such study, published in 2012, men who smoked marijuana were two times as likely to develop testicular cancer as were those who didnt use pot. A 2015 study in  the peer-reviewed journal BMC Cancer  concluded that using cannabis once a week or for more than ten years was associated with an increased risk of testicular cancer (particularly  testicular germ cell tumors, or TGCTs).

Religious Doubt and Faith in Hopkins Later Poetry - Literature Essay Samples

The central role of religion in Hopkins’ life gives it a similar significance in his poetry. The later poems by Hopkins, collectively generalised as the ‘Terrible Sonnets’, emphasise how religious doubt and faith, affected largely by personal circumstance, formed the foundation of Hopkins’ late work. As the ‘Terrible Sonnets’ were mostly written at a time where Hopkins was in ill health, physically and mentally, from the stress of living in Dublin after 1884, his personal conflict with religion undoubtedly underpins these poems. Most of the later poems clearly present elements of doubt and despair as shown in ‘No worst, there is none’ and ‘Spelt from Sibyl’s Leaves’. However, some of these later poems can also be interpreted as containing hope, most notably in ‘That Nature is a Heracltiean Fire and the Comfort of Resurrection’ and even ‘Carrion Comfort’. The significance of religion is seen in the intense personal struggle that Hopkins endures as he questions his own faith. His lamentation in ‘My own heart let me have more pity on’ that â€Å"not live this tormented mind / With this tormented mind tormenting yet† encapsulates the distress of his situation in Dublin. The repetition of torment has many moving connotations of an endless and consuming frustration. The lines produce a sense of madness which has an almost schizophrenic quality. The use of â€Å"this† twice makes the article uncertain, which could also reflect the loss of certainty of identity endured by Hopkins as he questions his own faith. The contrast in the devices used by Hopkins between his earlier poems and the ‘Terrible Sonnets’ emphasises the significance of religion in his later poetry. In poems such as ‘God’s Granduer’ Hopkins expresses powerfully that â€Å"the world is charged with the grandeur of God†. The use of light and ‘electric’ image of â€Å"charged† is a typical feature of the earlier poems which reflect Hopkins’ perception of God as a saviour and as guide. By contrast the ‘Terrible Sonnets’ are characterised by darkness. The loss of light, which was previously embodied in religious faith and belief in God, implies that Hopkins endures religious doubt. ‘Spelt From Sybil’s Leaves’ has been seen as the transitory poem between Hopkins’ hope and â€Å"Despair† as he describes the coming of the night as â€Å"Her fond yellow hornlight wound to the west†. Hopkins sees darkness in this poem, and others, with a similar perspective. In ‘Spelt From Sybil’s Leaves’ he sees darkness as showing â€Å"For earth her being has been unbound, her dapple is at an end†. Hopkins interprets the coming of the night as an end to the ‘dapple’ and uniqueness that evokes such passion in his earlier p oems. ‘Spelt From Sybil’s Leaves’ has many ambiguities in the octet, in particular in his juxtaposition of â€Å"womb-of-all, home-of-all, hearse-of-all† to describe the night. â€Å"Womb† and â€Å"home† have immediately positive connotations of security and comfort and is powerfully contrasted by â€Å"hearse† which creates a morbid shift in tone. Although the lines could be interpreted as reflecting the peaceful night, the later line, â€Å"Our evening is over us; our night whelms, whelms and will end us† emphasises the view that Hopkins regards the darkness as a form of death. The association of darkness to ‘death’ can be interpreted as literal death and possibly reflecting Hopkins’ greater consciousness of his morbidity with his ill health and isolation. However, a biographical interpretation is difficult as the date of the poem is not precisely known. Darkness seems more appropriately related to the beg innings of religious doubt and used in similar style to Blake’s ‘A Little Boy Lost’ in which the boy is lost in darkness and searches for direction in God. Hopkins’ sense of being in darkness is characterised in ‘I wake and feel the fell of dark, not day†. The religious meaning is also visible in this poem as Hopkins laments that â€Å"God’s most deep decree / Bitter would have me taste†. Hopkins reflects â€Å"But where I say / Hours, I mean years, mean life† which suggests that his sense of Despair has consumed him to undo the foundations of his entire existence – therefore being a significant influence on his poetry. As Hopkins laments the loss of the earth’s â€Å"skeined stained, veined variety† the religious tone of the poem is emphasised as it leads to the poignant image of â€Å"all on two spools; part, pen pack†. The alliterative pairs of â€Å"skeined stained, veined variety† al so resonate with the image of division with two â€Å"spools†. The remainder of the poem has further religious imagery such as the separation of ‘good and evil’ emphasised by biblical connotations of â€Å"two flocks, two folds – black, white; right wrong†. Religion appears to be divisive for Hopkins, causing a personal conflict similar to torture as emphasised by the most poignant image of the poem – â€Å"of a rack, / where selfwrung, selfstrung, sheathe – and shelterless, thoughts against thoughts in groans grind.† As religious faith was so central to Hopkins, it seems most appropriate to interpret his sense of torture and darkness as a consequence of his conflict with the concept of God. Hopkins seems disturbed by an expectation of torture in death as emphasised by the image of â€Å"a rack.† This could reflect an element of religious doubt or fear of the eventual outcome of his existence. His coinage of the words â⠂¬Å"selfwrung, selfstrung† has immediate connotations of a personal conflict which, from the preceding religious imagery, is likely to reflect Hopkins’ struggles with religious faith in Dublin. The images resonate with the descriptions of Dante’s Inferno and the expression by Dante that the worst torture endured by humans is to act-out their sins for eternity; this is also implied by Hopkins’ image of â€Å"selfwrung, selfstrung†. Hopkins final words of â€Å"thoughts against thoughts in groans grind† can link to the same image but also emphasise his fears about his conflict with religion. Just as in ‘Carrion Comfort’ Hopkins seems horrified that â€Å"I wretch lay wrestling with (my God!) my God†, in ‘Spelt From Sybil’s Leaves’ as the darkness falls literally in the poem and metaphorically on Hopkins’ tone, he seems to be most concerned with religion. Hopkins emphasises the role of religion in h is later poems most clearly in ‘No worst there is none’. His demanding questions – â€Å"Comforter, where, where, is your comforting?† and â€Å"Mary, mother of us, where is your relief† – show the direct concern with religion. The repetition of â€Å"where† can be seen as forming the Sprung Rhythm. However, it seems to have more rhetorical importance as the line is sharp and powerful which is salient amid the general rhythm in showing the intensity of Hopkins’ emotions towards God (almost certainly represent by the metaphor of â€Å"comforter†). The anguish of the repetition only emphasises the sense of despair. Hopkins’ direct address to God is rarely seen in his earlier poetry, which may emphasise his personal turmoil at the time of writing. Just as he addresses the â€Å"comforter† and â€Å"Mary, mother of us† in ‘No worst there is none’, in ‘Carrion Comfort’ Hopkins is directly critical towards God: â€Å"O though terrible, why wouldst thou rude on me / Thy ring-world right foot rock?† The image of Hopkins being a â€Å"rock† and ‘kicked’ by God is emphasised by â€Å"my bruised bones† and â€Å"the hero whose heaven-handling flung me, foot trod.† Hopkins appears to lament his suffering despite him having â€Å"kissed the rod, / Hand rather† of God. God is likened to a â€Å"tempest† and the combination of different images used encapsulates the torment felt by Hopkins as his religious faith became shaken. His emotion, poetic expression and passion all appear to be driven by religious faith. There are, however, examples of Hopkins later poems which are not centred on God. ‘To seem the stranger lies my lot, my life’ emphasises the distress of Hopkins as he is â€Å"in Ireland now† and â€Å"at a third / Remove†. This poem is important in examining the causes of the des pairing tone presented by Hopkins consistently throughout his later poems. The isolation from his family while in Dublin and the extraordinary emotional pressure it placed on Hopkins is shown poignantly in this poem as he even feels distanced from â€Å"Father and mother dear, / Brothers and sisters† because they are â€Å"in Christ not near†. This line exemplifies religion as an important concern of Hopkins’ poetry as again shows how his choice of religion distanced him from his family. However, the religious aspect is not central to this particular poem as it seems more to embody Hopkins’ lament at his distance from his family and isolation. The distance that Hopkins seems to feel from himself and his expectations of his character appears to be equally important. The central notion of ‘To seem the stranger lies my lot, my life’ appears to be in the lines â€Å"Only what word / Wisest my heart breeds dark heaven’s baffling ban / Bars or hell’s spell thwarts.† In addition to religious doubt and faith, Hopkins also struggles with his own character as he finds his passion of writing beginning to fade. Even until his final poem, ‘To R.B.’, this concern consumes Hopkins – â€Å"I want the one rupture of an inspiration†. Therefore, in Hopkins’ later poetry, his religious doubt seems to emerge due to his intense struggles with being unable to write and feelings of isolation. The one exception of religious doubt being significant among the later poems is in ‘That Nature is a Heracltiean Fire and the Comfort of Resurrection,’ which also shows the strength of faith. The poem contains a rare image of light for the ‘Terrible Sonnets’ in the lines, â€Å"Across my foundering deck shone / A beacon, an eternal beam† which could represents the hope that Hopkins may have seen in the transience of existence and suffering in anticipation of an afterli fe with salvation. This transience is reflected by the image of â€Å"Heracltiean fire† in its association with the philosophy of Heraclites on the cyclical nature of existence. His regaining of hope in this poem as he suggests â€Å"I am all at once what Christ is† and â€Å"This Jack, joke, poor postherd, patch matchwood, immortal diamond / Is immortal diamond† reflects the strength of Hopkins’ religious sentiments to influence his poetry. The sprung rhythm of the penultimate rhyme with the euphony of the ‘dappled’ alliteration and contrasts of images between â€Å"matchwood† and â€Å"immortal diamond† reflect the power of faith to inspire Hopkins. The return of more coloured language and further light, implied by the diamond imagery, suggests Hopkins found momentary relief amidst his despair. The separation of the final â€Å"immortal diamond† on the last line reflects the confidence in his conclusion. The line is pre sented firmly and individually showing no expression of doubt and a finality that is embodied in being â€Å"immortal†. Hopkins is unable to break from his religious faith and even expresses this in ‘Carrion Comfort’, one of his most despairing poems, that he will â€Å"not choose not to be.† Since Hopkins returns to religion in the time of his greatest tribulation, despite the sometimes accusing tone, it is possible to suggest that religion is central to his life and poetry. The foundation of his religious faith seems to be the very cause of his greatest sorrow in suffering. It is only because of religious belief and faith that Hopkins is troubled by his suffering and questions the central foundation of his existence. Before the ‘Terrible Sonnets’, Hopkins was consistently positive and passionate towards nature and God’s creation. The exhortations of instress and inscape seen in poems such as ‘The Windhover’ and ‘Pie d Beauty’ is absent from the later poems. Although it can be dubious to examine what is not there, with such a central feature of almost every poem written by Hopkins, the absence of this highest passion shows the great religious turmoil that he endured. The fear, uncertainty and devastation of having doubts about such fundamental faith are the underpinnings of the emotions in Hopkins’ later poetry.

Forming Plural Nouns in Italian

As you know, all nouns or sostantivi in Italian have an implicit gender—masculine or feminine, depending on their Latin root or other derivation—and that gender, together with their number—whether they are singular or plural—colors nearly everything else in the language, except, perhaps, for some verb tenses. Of course, it is essential that you learn which nouns are feminine or masculine—or how to recognize them—and how to correctly make a singular noun into a plural. How Does One Know? Mostly—and you will see that there are some exceptions—nouns ending in -o are masculine and nouns ending in -a are feminine (and then there is the vast world of sostantivi in -e, which we discuss below). You know about -a and -o from proper names, if nothing else: Mario is a guy; Maria is a girl (though there are some exceptions there, too). Vino, gatto, parco, and albero are masculine nouns (wine, cat, park, and tree); macchina, forchetta, acqua, and pianta are feminine (car, fork, water, and plant). Interestingly, in Italian most fruits are feminine—la mela (the apple), la pesca (the peach), loliva (the olive)—but fruit trees are masculine: il melo (the apple tree), il pesco (the peach tree), and lulivo (the olive tree). This is not something you or anyone else decides or chooses: It just is. Singular feminine nouns are accompanied by the definite article la, and singular masculine nouns by the definite article il or lo (those that get lo are those that begin with a vowel, with s plus a consonant, and with gn, z, and ps), and when you pluralize the noun, you must also pluralize the article: la becomes le, il becomes i, and lo becomes gli. The article, together with a series of other parts of speech in a sentence such as adjectives and pronouns, tell you if a noun is masculine or feminine. Alternatively, you need to look it up. Pluralizing Masculine Nouns Ending in -O Regularly, masculine nouns ending in -o become, in the plural, masculine nouns ending in -i. Singolare Plurale l(o)'amico gli amici the friend/friends il vino i vini the wine/wines il gatto i gatti the cat/cats il parco i parchi the park/parks l(o)'albero gli alberi the tree/trees il tavolo i tavoli the table/tables il libro i libri the book/books il ragazzo i ragazzi the boy/boys -Co to -Chi and -Go to -Ghi Note that amico becomes amici, but that is actually an exception (together with medico/medici, or doctor/doctors). In fact, most nouns that end in -co take -chi in the plural; most nouns that end in -go take -ghi in the plural. The insertion of the h keeps the hard sound in the plural. Singolare Plurale il parco i parchi the park/parks il fuoco i fuochi the fire/fires il banco i banchi the desk/desks il gioco i giochi the game/games il lago i laghi the lake/lakes il drago i draghi the dragon/dragons Pluralizing Feminine Nouns Ending in -A Regular feminine nouns that end in -a generally take an  -e ending in the plural. With them, the article la changes to le. Singolare Plurale l(a)'amica le amiche the friend/friends la macchina le macchine the car/cars la forchetta le forchette the fork/forks l(a)'acqua le acque the water/waters la pianta le piante the plant/plants la sorella le sorelle the sister/sisters la casa le case the house/houses la penna le penne the pen/pens la pizza le pizze the pizza/pizzas la ragazza le ragazze the girl/girls -Ca to -Che and -Ga to -Ghe Feminine nouns in -ca and -ga pluralize for the most part to -che and -ghe: Singolare Plurale la cuoca le cuoche the cook/cooks la banca le banche the bank/banks la musica le musiche the music/musics la barca le barche the boat/boats la droga le droghe the drug/drugs la diga le dighe the dam/dams la collega le colleghe the colleague/colleagues -Cia to -Cie/-Gia to -Gie and -Cia to -Ce/-Gia to -Ge Beware: Among female nouns there are some that end in -cia and -gia that pluralize in -cie and -gie— la farmacia/le farmacie (the farmacy/farmacies)la camicia/le camicie (the shirt/shirts)la magia/le magie (the magic/magics) —but some lose the i in the plural (this happens generally if the i is not needed to maintain the words accenting): la lancia/le lance (the spear/spears)la doccia/le docce (the shower/showers)larancia/le arance (the orange/oranges)la spiaggia/le spiagge (the beach/beaches) Again, there is nothing wrong with looking up a plural while you are committing your new vocabulary to memory. Pluralizing Nouns Ending in -E And then there is a very large group of Italian nouns that end in -e that encompasses both masculine and feminine nouns, and that, regardless of gender, pluralize by taking the ending -i. To know whether a word that ends in -e is feminine or masculine you can look at the article, if you have one available, or other clues in the sentence. If you are just learning a new noun in -e, you should look it up to find out. Some are counterintuitive: fiore (flower) is masculine! Maschilesing/plur Femminilesing/plur il mare/i mari the sea/seas l(a)'arte/le arti the art/arts l(o)'animale/gli animali the animal/animals la neve/le nevi the snow/snows lo stivale/gli stivali the boot/boots la stazione/le stazioni the station/stations il padre/i padri the father/fathers la madre/le madri the mother/mothers il fiore/i fiori the flower/flowers la notte/le notti the night/nights il bicchiere/i bicchieri the glass/glasses la stagione/le stagioni the season/seasons il colore/i colori the color/colors la prigione/le prigioni the prison/prisons Within this group it is helpful to know, for example, that all words ending in -zione are feminine: la nazione/le nazioni (the nation/nations)l(a)attenzione/le attenzioni (the attention/attentions)la posizione/le posizioni (the position/positions)la dominazione/le dominazioni (the domination/dominations) Male/Female Variations Within -O/-A Endings Note the ragazzo/ragazza nouns in the tables above: There are many such nouns that have a feminine version and a male version with a mere change of the o/a ending (and, of course, the article): Maschilesing/plur Femminilesing/plur l(o)'amico/gli amici l(a)'amica/le amiche the friend/friends il bambino/i bambini la bambina/le bambine the child/children lo zio/gli zii la zia/le zie the uncle/uncles/aunt/aunts il cugino/i cugini la cugina/le cugine the cousin/cousins il nonno/i nonni la nonna/le nonne the grandfather/grandfathers/grandmother/grandmothers il sindaco/i sindaci la sindaca/le sindache the mayor/mayors There are also nouns that are identical in the singular for male and female (only the article tells you the gender)—but in the plural change ending to suit the gender: Singolare (masc/fem) Plurale(masc/fem) il barista/la barista the bartender i baristi/le bariste the bartenders l(o)'artista/la artista the artist gli artisti/le artiste the artists il turista/la turista the tourist i turisti/le turiste the tourists il cantante/la cantante the singer i cantanti/le cantanti the singers l(o)'abitante/la abitante the inhabitant gli abitanti/le abitanti the inhabitants l(o)'amante/la amante the lover gli amanti/le amanti the lovers Male/Female Counterparts in -E There are also male nouns in -e that have similar female counterparts: lo scultore/la scultrice (the sculptor masc/fem)l(o)attore/la attrice (the actor masc/fem)il pittore/la pittrice (the painter masc/fem) When they pluralize, they and their articles follow normal patterns for their genders: gli scultori/le scultrici (the sculptors masc/fem)gli attori/le attrici (the actors masc/fem)i pittori/le pittrici (the painters masc/fem) Strange Behaviors Many, many Italian nouns have eccentric ways of pluralizing: Masculine Nouns Ending in -A There are a number of masculine nouns that end in -a and pluralize in -i: il poeta/i poeti (the poet/poets)il poema/i poemi (the poem/poems)il problema/i problemi (the problem/problems)il papa/i papi (the pope/popes) Masculine Nouns in -O That Pluralize in the Feminine These pluralize in what appears to be a singular feminine with a plural article: Il dito/le dita (the finger/fingers)Il labbro/le labbra (the lip/lips)Il ginocchio/le ginocchia (the knee/knees)Il lenzuolo/le lenzuola (the sheet/sheets) Il muro (the wall) has two plurals: le mura to mean the walls of a city, but i muri to mean the walls of a house. The same for il braccio (the arm): le braccia to mean the arms of a person, but i bracci for the arms of a chair. Feminine Nouns in -O A tiny but important category of exceptions, both in the singular and the plural: la mano/le mani (the hand/hands)la eco (leco)/gli echi (the echo/echoes) Masculine Nouns Ending in -Io In the plural, these just drop the final -o: il bacio/i baci (the kiss/kisses)il pomeriggio/i pomeriggi (the afternoon/afternoons)lo stadio/gli stadi (the stadium/stadiums)il viaggio/i viaggi (the trip/trips)il negozio/i negozi (the store/stores) Words of Foreign Origin Words of foreign origin stay unchanged in the plural (no s); only the article changes. il film/i film (the film/films)il computer/i computer (the computer/computers)il bar/i bar (the bar/bars) Accented Words Words that end in accento grave stay unchanged in the plural; only the article changes. il caffà ¨/i caffà ¨ (the coffee/coffees)la libertà  /le libertà   (the freedom/freedoms)l(a)università  /le università   (the university/universities)il tiramisà ¹/i tiramisà ¹ (the tiramisà ¹/tiramisà ¹)la città  /le città   (the city/cities)il lunedà ¬/i lunedà ¬ (that goes for all accented days of the week)la virtà ¹/le virtà ¹ (the virtue/virtues)il papà  /i papà   (the dad/the dads) (this is also a male noun ending in -a) Invariable Unaccented Some other words (including monosyllabic words) remain unaltered in the plural; again, only the article changes. il re/i re (the king/kings)il caffelatte/i caffelatte (the latte/lattes)leuro/gli euro (the euro/euros) Nouns of Greek Origin These change only in the article (interestingly they change in English in the plural): la nevrosi/le nevrosi (the neurosis/neuroses)la analisi/le analisi (the analysis/analyses)la crisi/le crisi (the crisis/crises)la ipotesi/le ipotesi (the hypothesis/hypotheses) Miscellaneous Exceptions il bue/i buoi (the ox/oxen)il dio/gli dei (the god/gods)lo zio/gli zii (the uncle/uncles) And best of all: luovo/le uova (the egg/eggs)lorecchio/le orecchie (the ear/ears)luomo/gli uomini (the man/men) Buono studio!