.... "Are driven, like ghosts from an enchanter fleeing." Again the speaker puts the wind into the non-physical world by describing the wind using words such as "breath", "unseen presence", and "enchanter". At the end of the first stanza, the speaker again talks about the wind, as a celestial being when he describes the wind as a "Wild Spirit" and says this spirit is everywhere. He then comments on the power of the wind when he describes it as a "Destroyer and Preserver." He ends the first part in the fifth stanza with an apostrophe. The speaker speaks to the West Wind, and asks this higher force to listen to his plea. The second section of the poem deals with the wind as b ....

.... have his go at the Green Knight. He showed to have more honor and courage than the rest of Arthur's Court by coming forward. "Would you grant me the grace,' said Gawain to the King, 'To be gone from this bench and stand by you there." (Gawain, lines 343-344) "I am the weakest, well I know, and of wit feeblest; And the loss of my life would be least of any;" (Gawain, 355-356). The poem is full of instances in which Gawain was forced to face difficult decisions. Gawain could have simply left Camelot never to return. He instead chose the option of keeping his word and searching for the Green Knight, even though he knew he had to take what was coming to him. "Now, ....

.... Gawain has to endure. After Gawain cuts off the head of the Green Knight, the knight tells him that he must meet him at his castle one-year and a day from now. He tells Gawain that if he does not show then he is a coward like he expected from King Arthur. After the Green Knight leaves all of the other members of the court cheer Gawain for his bravery. They see him as a hero and a savior of their leader King Arthur. Gawain only sees himself, as a normal everyday soldier that is only doing his duty by protecting faith in the monarchy that he is apart of. Gawain is a very humble person who will refuse to view himself as a hero. The main test that Gawain is going to have to face ....

.... by the Georgian poets who were active when he settled in London. He sought to make poetry more subtle, more suggestive, and at the same time more precise. He learned the necessity of clear and precise images, and he learned too, to fear romantic softness and to regard the poetic medium rather than the poet's personality as the important factor. Eliot saw in the French symbolists how image could be both absolutely precise in what it referred to physically and at the same time endlessly suggestive in the meanings it set up because of its relationship to other images. Eliot's real novelty was his deliberate elimination of all merely connective and transitional passag ....

.... is no gradual build-up to the main point. Instead, there is merely a progression of explanation. Many years beyond the grave, the narrator portrays the placid process of her passing, in which death is personified as he escorts her to the carriage. During her slow ride she realizes that the ride will last for all eternity. “The carriage held but ourselves and immortality.”(3) It is my opinion that the speaker in this poem exemplified the voice of all people. She ‘could not stop for death’ as none of us really believe we can or that we have the time. Most people die unexpectedly and are not ready to stop everything they have and want to do just to cease living. ....

.... poem may seem simple at first such as; "your brains exposed and darkened combs your muscles webbing and all your numbered bones" (Stanza 9) These lines indicated the straight forward almost scientific nature of the poem, through Heaneys choice of unemotive words. This simplicity is seen throughout the poem, where the reader initially could perceive the poem to solely be about the life, and appearance of a 'bog woman'. However at a deeper level, Heaney looks at the very human society functions, both in ancient and present times. This us summed up at the end of the poem; "who would connive in civilized outrage yet understand the exact and tribal, intimate revenge" ....

.... uses these traits to portray death as a formidable foe. "With an impudence that is characteristically Donne's, he deflates Death in the opening salvo. He discounts the power of death as a mere fiction" (Dr. Gerald McDaniel, lecture). Now that the image of his foe, death, has been created, Donne denounces the power and fear associated with death, "for thou art not so. / For those whom thou think'st thou dost overthrow/ Die not, poor Death, nor yet canst thou kill me" (ll 2-4), Donne defies death's power. He is so bold as to mock death, calling it "poor death" (l 4), giving death the sense and personification of being deficient in that it cannot kill Donne. In th ....

.... tree, and living thing, then why fret about themselves? [6]They could let themselves be carried by life, and they felt a sort of peace each in the other. [7]There was a verification which they had had together. [8]Nothing could nullify it, nothing could take it away; it was almost their belief in life. [9]But Clara was not satisfied. [10]Something great was there, she knew; something great enveloped her. [11]But it did not keep her. [12]In the morning it was not the same. [13]They had known, but she could not keep the moment. [14]She wanted it again; she wanted something permanent. [15]She had not realized fully. [16]She thought it was he whom she wanted. [17]He ....