Showing 791 - 800 of 1017 annotations tagged with the keyword "Love"
The poem, a domestic epic, employs the convention of in medias res. The central issue, the death of a child, has not been addressed by the parents whose lives are in strange suspension. A staircase, where the action of the poem occurs, symbolizes both the ability of husband and wife to come together and the distance between them.
In their first discussion of this traumatic event, readers learn that the child was buried in the yard by the father during the New England winter, while the mother watched from a window in the staircase landing, stunned by her husband's steadfast attendance to the task. His energy and "carelessness" at a time when she was shaken and immobilized by grief was incomprehensible and infuriating. The husband, meanwhile, has grieved in a different way, reconciling the death of his child to fate and the caprices of nature.
When the poem opens, their separate interpretations and feelings finally are expressed, and each is surprised by what the other says. The husband speaks from the bottom of the stairs, she from a step just above the landing. Significantly, they don't come together on the architectural bridge and, when the poem concludes, readers are not assured that this marriage will regain the closeness it might have had prior to the child's death. The highly dramatic poem underscores the impact of loss and the need for communication or discussion of loss by those involved. When no reconciliation occurs, the loss intensifies to become destructive.
Keats describes his reaction to a Grecian urn painted with images of maidens, pipers and other Greeks. While the melody of modern day pipes may be sweet, Keats finds the painted pipes sweeter. They are not mere sensual pleasure, but guide one to a higher sense of ideal beauty. The other images have a similar effect, as they are frozen forever at the moment of highest perfection.
One part of the urn shows a youth about to kiss a maid. Keats envies the lover, for though he will never actually kiss his love, she will ever remain fair and they will forever be in love. The painted trees will also forever be perfect, never losing their leaves. When Keats' world passes away, this beautiful object will still remain and tell man that "Beauty is truth, truth beauty."
An old man bending I come upon new faces . . . . The old poet is asked by the young to tell of his experience during the war. In silence and in dreams, he returns to the battlefield: "Bearing the bandages, water and sponge, / Straight and swift to my wounded I go, / Where they lie on the ground after the battle brought in, / Where their priceless blood reddens the grass . . . . "
He describes the rows of the hospital tent, where one man has a bullet through his neck, another an amputated arm. The poet cleans and dresses each wound. Even though he never knew these soldiers before, "Yet I think I could not refuse this moment to die for you, if that would save you." At the end of the poem, he remarks, "Many a soldier’s kiss dwells on these bearded lips."
The King begins to make bad judgments: he "retires" from the worries of kingship, but expects to retain the privileges; he divides the kingdom, something every king knows better than to do; he banishes his only honest daughter and his most loyal advisor. Lest the reader not get the significance of these actions, they are mirrored in the actions of one of his royal party, Gloucester.
Nature announces impending trouble and the aging king reveals the magnitude of his dementia in a scene of violent delirium. The complex conspiracies among the sons and daughters of the king and Gloucester eventually lead to the violent deaths of most of the principles, clearing the way for an establishment of a new stewardship for the kingdom.
Hamlet's father, the King of Denmark, is dead and has been succeeded by his brother Claudius, who has married the old king's wife, Gertrude. The King's ghost tells Hamlet that Claudius murdered him, and makes Hamlet promise to avenge his death. The play traces the process by which Hamlet negotiates the conflict between his need to take violent action and his uncertainty about the rightness of doing so.
He pretends to be mad and contemplates suicide. He unintentionally murders Polonius, the new King's counselor, and violently confronts his mother for what he sees as an unfaithful and incestuous marriage to her brother-in-law. He also verbally abuses Ophelia, the daughter of Polonius, whom Hamlet had loved before, contributing to her mental illness and eventual death.
Hamlet finally decides that he must submit to his fate--or his dramatically determined role as the hero of a revenge tragedy--and agrees to a fencing match with Ophelia's brother, Laertes. Arranged by Claudius, the match is rigged. Laertes's rapier is poisoned, and both Laertes and Hamlet are killed with it. Gertrude drinks the poisoned wine intended for Hamlet and dies. Hamlet's last action is to kill Claudius, but whether this counts as the successful culmination of a revenge plot is dubious. As a new order takes over in Denmark, and as the dying Hamlet asks that his story be remembered, we realize that his existential quandaries remain largely unresolved.
The film covers two days in the life of Frank Pierce (Nicolas Cage), a burned-out EMT (emergency medical technician) working the socio-economic underside of Manhattan. From the beginning, Frank is upset because recently all his patients have been dying on him, and he is haunted throughout by the hallucinated ghost of Rose, a young woman who collapsed on the street and died, apparently because he could not intubate her correctly.
Frank is highly stressed, he has no life outside his work, and he is self-medicating with alcohol. He tries to quit, but his boss keeps him on by promising time off in the future. In the film's first action, Frank does manage to miraculously resuscitate Mr. Burke, a heart-attack victim, but the patient winds up in the hospital with a very bad prognosis, so even that "saving" works against Frank.
Frank has encounters with numerous patients, many of them street people whose lives are out of control, some of whom are ER (Emergency Room) regulars, such as the demented young Noel (Marc Anthony). He also deals with (and is dealt with by) several highly idiosyncratic EMT partners in his ambulance rounds (John Goodman and others). Frank gets to know Mary Burke (Patricia Arquette), the daughter of the heart-attack victim, and they tentatively move toward being a couple who might help each other survive their lives.
Near the end, Frank, who knows Mr. Burke had tried to tear out his tubes during a brief moment of consciousness, and who feels he has been getting pleading messages from him to end his agonies, surreptitiously takes him off life support long enough for him to die. The physician who responds to the code decides not to attempt resuscitation of this patient who had already been resuscitated 14 times that day. Frank goes to tell Mary that her father has died (but not how), and exhaustedly falls asleep on her breast, apparently having forgiven himself because he has in some sense finally "saved" Mr. Burke.
Summary:No loud noise will wake the author's son ("For I can snore like a bullhorn . . . "), but the "stifled come-cry" of his parents' making love brings him to their bedroom, where he "flops down between us . . . his face gleaming with satisfaction at being this very child." The parents look at one another and "touch arms across his little, startlingly muscled body."
The life cycle of a townspeople and of one ignored couple, lyrically rendered in nine short stanzas. To stunning effect, Cummings employs reversed word order, almost-but-not-quite-nonsense sentences, play on words, and repetition. We get the coming and going of the seasons; the leading of lives, circumscribed, sometimes small-minded, monotonous.
But there is also yearning and dreaming, marriage, children, joy and hope. It may take several readings to realize that woven into the description of the townsfolk is the tale of a man and a woman, "anyone" and "noone", ignored or even reviled by everyone else. Only "children guessed" that they were falling in love--that "anyone’s any was all to her . . . . " Time passes, they die, they are buried next to each other, they become part of the earth and of the cosmos, "all by all and deep by deep . . . Wish by spirit and if by yes."
The speaker begins by declaring that "Abortions will not let you forget," and goes on to problematize the question of aborted life. These are "singers and workers who never handled the air" and whom the mother ("you") "will never scuttle off ghosts that come." The speaker has heard in the wind the voices of her "dim killed children" and has suffered because of it.
She unequivocally looks at the fact that the children have been killed, cut off from life before having a chance to experience it. The speaker meditates (in direct address to the children) on the "crime" and whether it was hers or not, saying that "even in my deliberateness I was not deliberate," and declaring that despite her having "stolen" their births and names, that "I loved you all."
Wealthy American widows Alida Slade and Grace Ansley have taken their two marriageable daughters on a Continental tour. As the story opens, the older women linger at a restaurant with a view of the Forum while their daughters leave for an unchaperoned outing. The women talk of how carefully their mothers guarded them, and how their own mothers were in turn warned of Roman fever to keep them in at night.
Alida pushes the talk back to their girlhood, and Grace’s illness after a nighttime sightseeing trip; she reveals her knowledge that Grace had really gone to the Forum to meet Alida’s fiancé, Delphin Slade. Impelled by a mixture of jealousy, guilt, and vengeful satisfaction, Alida declares that she, not Delphin, wrote the letter summoning Grace to the tryst. This initial crisis is followed by a much more powerful one when Grace makes her own revelations about that night at the Forum.