تجمع طالبات البويتري مع الدكتورة ناريمان 2010....

[Dalia]

المشاركة الأصلية كتبت بواسطة ioooi شعبة الصبح ولا الظهر ؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟

شعبة الظهر...

شعبة الصباح
anyone lived in a pretty how town
للشاعر ee cumming

[Dalia]

بنـــات عشان لا تتجننو وتتلخبطو... انا اختصرت العصور هنا...
وان شاء الله يفيدكم في الموزاكرة.. ^^

Romantic

The Romantic Movement in literature began around the end of the 18th century in Western Europe and flourished in the first half of the 19th century.
It was in a revolution against the Enlightenment of the previous century which focuses on scientific and rational thought.

Chrictaristic:

 Nature provided an alternative to the human, a possibility for imaginative as well as literal escape
 Individual’s emotional is mainly stressed in Romantic works .
 It trusts feelings, emotions and intuitions instead of reason, mind, and facts.
 The Romantics use simple, direct language to convey their feelings.

[Dalia]

Victorian

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. The discoveries of science have particular effects upon the literature of the age.

Christarictic

 Literature of this age tends to come closer to daily life which reflects its practical problems and interests.
 Moral Purpose: The Victorian literature seems to deviate from "art for art's sake" and asserts its moral purpose.
 Idealism: It is often considered as an age of doubt and pessimism.
 It is an idealistic age where the great ideals like truth, justice, love, brotherhood are emphasized by poets, essayists and novelists of the age.

[Dalia]

Modern

Modernism as a literary movement is seen as a reaction to the emergence of city life as a central force in society.


 Realistic embodiment of social meanings
 Separation of meanings and senses from the context
 Spiritual loneliness
 Alienation
 Rejection of history
 Objection to religious thoughts
 Two World Wars' effects on humanity

[Ignor]

ثانكس دلووووووووووول إختصرتي عليا ^^

[Dalia]

الله يعينك ويوفقك ياارب.. أدعيلي عندي سوسيو بكرا خخخخخخخخخ

[ioooi]

المشاركة الأصلية كتبت بواسطة dalia الله يعينك ويوفقك ياارب.. أدعيلي عندي سوسيو بكرا خخخخخخخخخ

بالتوفيق ياعسل

[sara*]

داليا من جد مررررررررررره شكرا
طيب كيف اعرف البيليفز تبع الشعراء....؟؟؟؟

[sara*]

بنات اتفضلو لقيت الاشياء هذي
قلبي ماطاوعني ابعتها بس للمتعاونين خخخ
مدري ليش اتذكرت ناريمان نفس حركتها
خخخخخ ياحياااتي من جد حاتوحشني ماحد بعد كذا حايقولي ياامتخلفه خخخخخخخخخ

Summary
Stanza 1
The opening lines of "The Darkling Thrush" establish the tone and the setting of the poem. Hardy underscores the speaker's meditative mood by describing him leaning upon a "coppice gate," meaning a gate that opens onto the woods. The presence of frost tells readers it is winter, and the adjective "spectre-grey," a word Hardy coined, suggests a haunted landscape. The word "dregs" means the last of something, but here the dregs act upon the "weakening eye of day," making the twilight "desolate."
In the fifth and sixth lines, the speaker uses a simile to compare "tangled bine-stems" to "strings of broken lyres." Bine-stems are the stems of shrubs, and a lyre is a stringed musical instrument similar to a harp. Although "score" is a musical term, Hardy uses it to create an ominous visual image. While the speaker is outside contemplating a bleak landscape, the rest of the world is comfortably inside, warmed by "their household fires."
Stanza 2
In this stanza, the speaker uses phor to describe the barren landscape as the corpse of the nineteenth century. The now personified century is entombed in the sky ("the cloudy canopy"), and the wind is its "death lament." Lines 13 – 14 refer to the seeds of spring, which are now "shrunken hard and dry." The deion literally depicts what happens to seeds during winter, but figuratively the speaker implies that the very processes of nature are at a standstill and that the next spring might not come. In the last two lines, the speaker compares himself with "every spirit upon earth," projecting his despondency onto the world.
Stanza 3
This stanza marks a break in the tone and action of the poem, as the speaker hears an old thrush break out in song. Thrushes are fairly common songbirds and usually have a brownish upper plumage and a spotted breast. "Evensong" means a song sung in the evening, significant here both for an "aged" bird and because it is the last day of a century. The image of the bird "choosing" to "fling his soul / Upon the growing gloom" suggests both hope and desperation and resonates with the speaker's own emotions. The image also evokes the phoenix, a mythological bird with a beautiful song that self-reincarnates from its own ashes.
Stanza 4
In this stanza, the speaker expresses incredulity at the bird's singing ("carolings"), literally wondering what on Earth ("terrestrial things") could make it so happy. The incongruity of a joyful bird amidst such a stark landscape is striking, and it puzzles the speaker who, though he can recognize joy, cannot experience it himself. However, the word "blessed," the capitalization of "Hope," and the limiting phrase "terrestrial things" open the possibility that there might be religious or spiritual reasons for the thrush's behavior. The speaker's acknowledgement that he is "unaware" of the cause of the bird's singing also suggests the possibility that there may indeed be a cause for it and that the speaker might in time come to know that cause.

هذي the darkling

الاثنين الباقيين مالقيت عنهم شي اللي تلقى السمري تحطو بليييز هذا كل شي الى الان جاري البحث عن اشياااااء مهمخ راجهعه
اللي تستفيد تدعيلي اخذ القول مارك في الفاينال عشااان اقدر انجح

[sara*]

هذا اللي لقيته عن preludes

Eliot’s “Preludes” consists of four uneven parts: Part I has 13 lines with an uneven rhyme scheme. Part II has 10 lines, again with an uneven rhyme scheme. Part III and IV both have 16 lines, but again with uneven rhymes and fewer rhymes than Parts I and II. The haphazard rhymes parallel the speaker’s stream-of-consciousness remarks.
Part I: “The winter evening settles down”
The speaker is describing what he sees as “[t]he winter evening settles down.” He also lets his readers smell what he smells, the odour of “steaks in passageways.” It is the dinner hour, “six o’clock.” He colourfully describes the end of the day as “burnt-out ends of smoky days,” likening the end of the day to the butt of a cigarette.
The reader might recall in “The Love Song of J. Alfred Prufrock” how the speaker describes evening as “a patient etherised upon a table.” Such an attitude toward evening signifies loneliness and melancholy.
Then, a rainstorm blows up: “now a gusty shower wraps / The grimy scraps.” “Grimy scraps” indicates the ugliness of the speaker’s surroundings, as do other images in the rest of the stanza: “withered leaves” at his feet, “newspapers from vacant lots,” and then he notices “A lonely cab-horse steams and stamps.” Is the cab-horse really “lonely” or is the speaker projecting his own feelings onto the animal?
Part II: “The morning comes to consciousness”
In part II, the speaker is waking up the next morning, again he allows the reader to see, hear, and smell the same things he experiences: “stale smells of beer / From the sawdust-trampled street / With all its muddy feet that press.”
He says that all those muddy feet are trampling to the “early coffee-stands” and other places that pretend to be important for that time of morning. And he even tells the reader what this time of morning brings to his mind: “One thinks of all the hands / That are raising dingy shades / In a thousand furnished rooms.”