ً_ً تجمع طالبات البويتري مع د ناريمان ^_^

[شهووووده]

بنوتاااااااااااااااات هذي معلومات بسيطه عن ويليام وردس وورث
اخنا هذي المعلومات مع الدكنوره الرائعه غادة نعمة الله>>الله يرجعها لقسمنا مره ثانيه<<
وبصراحه براءة قلب هي اللي ذكرتني بها واقترحت علي انزلها هنا
ولاتنسوا دعواتكم لي ولبراءة قلب
واكييييييييييييد لكل البنوتات>>الله يوفقكم وتجيبوا درجات عاليه>>
about William wordsworth
-he is the most famous romantic poet
-he uses simple language of ordinary men
- he studies the impact of all phenomena on himself
-these sharsd moments of insight and high passion,mark him achaifment inverse
-his power lies in showing the innate power of nature which meets the power of perception of mind
-he describes poetry as the spontaneous overflow of powerful feelings
-hetransforms desalotion of mere loneliness to the bless of solitude
GOOD LUCK

[attractive girl]

اقوول شهووده ليش مانمتي؟

[Conscientious]

nody

ما اعرف الطريقه

قوليها لي

EEEEE

فين the information about the author
and

the symbols and the 4 imagerys

and
figurtive of speech

انا كان قصدي كذا لاني ولله تعتبت وانا الخص نقاط الروما نتسزم والموفمنت وحا ولت اجيب اسهل شئ

على العموم يعطيك ربي العافيه

redcandle

ووون الشغل تبعك

بنوووته

ليش ما حاولتي تخذيك بارت من الشغل الانك من ضمن اللي ذكرت اسماءهم

وشكراً لتعاونكم

[Conscientious]

the lamb

first part


Blake, a poet, .printer, and engraver. Is often called the translational poet because he serves as a link between the age of classicism and romanticism maintaining a discipline in form like classicists and yet an exponent of imagining like the romantics. He wrote with surprising simplicity and directness, often inspired by divine vision, which he claims to have been having since his childhood .these visions occurred to him not because he was religious, but because of his imaginative faculty which, according to him, is the essence of poetic talent.
The lamb appeared in the 1794 publication of his first great work song of innocence and experience of the lamb belong to the section , songs of innocence . this group of poems presents a vision of the world seen through the eyes of innocent child

[soso11]

ربي يسهل علينا ويفتحها علينا يارررب

[k*a*]

ولك يسلموووووووووووو
وماتقصرون يابنات الاجواد
الله يوفقنا دنيا واخره

[شهووووده]

اللهم لاسهل الا ماجعلته سهلا
الله يسهل للجمييييييييييييييع وبالتوفيق يارب

[Conscientious]

“My Last Duchess” Robert Browning

Complete
That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek: perhaps
Fra Pandolf chanced to say “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat”: such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?—too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men,—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—(which I have not)—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse,
—E’en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
Summary
This poem is loosely based on historical events involving Alfonso, the Duke of Ferrara, who lived in the 16th century. The Duke is the speaker of the poem, and tells us he is entertaining an emissary who has come to negotiate the Duke’s marriage (he has recently been widowed) to the daughter of another powerful family. As he shows the visitor through his palace, he stops before a portrait of the late Duchess, apparently a young and lovely girl. The Duke begins reminiscing about the portrait sessions, then about the Duchess herself. His musings give way to a diatribe on her disgraceful behavior: he claims she flirted with everyone and did not appreciate his “gift of a nine-hundred-years- old name.” As his monologue continues, the reader realizes with ever-more chilling certainty that the Duke in fact caused the Duchess’s early demise: when her behavior escalated, “[he] gave commands; / Then all smiles stopped together.” Having made this disclosure, the Duke returns to the business at hand: arranging for another marriage, with another young girl. As the Duke and the emissary walk leave the painting behind, the Duke points out other notable artworks in his collection.

[Conscientious]

victorian age with its characteristics

The literature of the Victorian age entered in a new period after the romantic revival. The literature of this era expressed the fusion of pure romance to gross realism. Though, the Victorian Age produced two great poets Tennyson and Browning, the age is also remarkable for the excellence of its prose.
The discoveries of science have particular effects upon the literature of the age. If you study all the great writers of this period, you will mark four general characteristics:
1. Literature of this age tends to come closer to daily life which reflects its practical problems and interests. It becomes a powerful instrument for human progress.
2. Moral Purpose: The Victorian literature seems to deviate from "art for art's sake" and asserts its moral purpose. Tennyson, Browning, Carlyle, Ruskin - all were the teachers of England with the faith in their moral message to instruct the world.
3. Idealism: It is often considered as an age of doubt and pessimism. The influence of science is felt here. The whole age seems to be caught in the conception of man in relation to the universe with the idea of evolution. Tennyson's some immature works seem holding doubtful and despairing stains but his In Memoriam comes out as a hope after despair.
4. Though, the age is characterized as practical and materialistic, most of the writers exalt a purely ideal life. It is an idealistic age where the great ideals like truth, justice, love, brotherhood are emphasized by poets, essayists and novelists of the age.
If you wish to read the literature of the Victorian age, the names of Tennyson, Browning, Dickens, Thackeray, Macaulay, Arnold, Carlyle and Ruskin will come before your mind's eye. Tennyson, like Chaucer, was a national poet whose reading will please you by his employment of melody in expression.

[Conscientious]

analysis of the poem "My Last Duchess"a


A dramatic monologue is a poem in which a single speaker who is not
the poet recites the entire poem at a critical moment. The speaker
has a listener within the poem, but the reader of the poem is also one
of the speakers listeners. In a dramatic monologue, the reader learns
about the speaker's character from what the speaker says. Robert
Browning is said to have perfected this form of writing. One of his
most famous dramatic monologues is "My Last Duchess."

The speaker in the poem is an Italian duke who ordered the murder of
his wife and is at the offset of the poem showing off the portrait to
his future son-in-law. Browning lets the reader know in a roundabout
way that the duke only shows the portrait of his late wife to select
strangers. In doing this, the speaker is able to show off his wealth to
the stranger and he seems to enjoy telling these people the story of
how he ordered her to death. The speaker tries to convey to the
people that he shows the portrait to that he is in control of
everything that takes place in his household. In lines 8-9, the speaker
interjects "since none puts by The curtain I have drawn for you…" In
this line, the speaker is saying that he doesn't draw the curtain for
just anyone. He has drawn the curtain particularly for his future
son-in-law and he should feel privileged because the portrait can only
be seen under the speaker's complete control.

The Duke believes that he should be shown complete respect and be
the center of attention while in his home. The Duke thought his wife
should be for him and his pleasures only. He did not like it when Fra
Pandolf, the artist who painted the portrait said:

"Fra Pandolf chanced to say 'Her mantle laps
Over my lady's wrist too much,' or, 'Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat."

to the duchess in lines 16-18. And then again in lines 27-28, the duke
tells about how some "officious fool" brought her cherries from the
orchard.

The duke also could not stand the fact that the duchess treated
everyone and every gift equally; "all and each / Would draw from her
alike the approving speech, / Or blush, at least" (lines 29-31). The
duke thought of his wife as one of his possessions and she could
never be treated as his equal; "E'en then would be some stooping;
and I choose / Never to stoop" (lines 42-43). Now her portrait is
behind a curtain and he has absolute power over it, just like he
thought he should have had over his wife while she was alive. In lines
54-56, Browning alludes to Greek mythology while making the
comparison of how the duke tamed his wife like Neptune and the
sea-horse; "Notice Neptune, though / Taming a sea-horse, thought a
rarity, / Which Claus of Innsbruck cast in bronze for me!"

The duke tried to have control over his household at all times and it
seems like he is trying to convey that to his future son-in-law. He is
also talking to a servant as the reader finds out at the end of the
poem. The reader could take that as the duke trying to tell the people
in his household that he is the ultimate power of the house as well the
people that live in it.