Caaedmon's Hymn Sparknotes

Early in the poem, Jarman points out the “sermon’s trenchant commentary on the world’s ills” (2-3), illustrating a mutilation of the connectedness of the congregation focusing instead on the very real but nonetheless generic ills of the world. Furthermore, the phrase “hand-wringing” (4) seems to describe the shaking of hands as the congregation members greet each other with the peace of Christ, again listing the routine of the congregation. Although, it appears to be more inclined towards a description of a helpless, passive anxiety that corresponds well with a sermon designed to impose guilt without inspiring action. Jarman goes on to compare the persistent nature of sin even in moments of peace with “motes of dust ride, clinging” (8). In this line, Jarman suggests that the congregation is sinful even after all the doctrinal procedure done to become clean from sin. Even the structure of the octave suggests a conventional and never changing sonnet form with 14 lines, a perfect Italian rhyming scheme, and a fascinating iambic pentameter alone, that inspires nothing more than an

In the third stanza, the diction of “heaven” and “noble” allows the speaker to craft an image of an almost godlike juggler. This view of the juggler creates the tone of amazement and ardent which breaks through the previous gloomy description of the earth in the first stanza which “falls/ So in our hearts from brilliance” (lines 3-4). This reveals that the world the juggler has made, unlike the earth which the speaker doesn’t appear to have fond feelings of, is a joyful and light-hearted place that the speaker is easily captivated by. As the juggler “reels that heaven in” (line 16), creates an atmosphere of an almost unearthly experience. This description of the juggler as a master of spiritual elements allows readers to view how the speaker's attitude is uplifted and enlightened.

The first stanza deals strictly with "how you were made." The speaker uses eloquent, articulate verbiage to express the imp1ressiveness of "how you were made." The speaker begins by asking the reader to consider the "loving geometry" and "passionate symmetry" with which he or she was created. This causes the reader to consider who or what created him or her, and being that the title refers to a biblical character, most would undoubtedly assume the creator to be God. The mention of God oftentimes is connoted with concepts pure, holy, and righteous. Moreover, this would lead a person of

Each new morn / New widows howl, new orphans cry, new sorrows / Strike heaven on the face, that it resounds / As if it felt with Scotland and yelled out / Like syllable of dolor.” (IV.iii. 2-8)

The poet tells about “The Almighty making of the earth, shaping beautiful plains, marked off by oceans, then proudly setting the sun and moon to glow across the land and light it” (7-10). In the Bible, Genesis 1:1 reads, “In the beginning God created the heavens and the earth.”

The book is composed of twenty chapters each with a separate contributing author(s). Each chapter has the same format as an essay with a brief overview of the section

In “The Savior must have been a docile Gentleman,” Dickinson shows her faith by discussing her interpretation of one of Jesus Christ’s trait based on his actions that are presented in the Bible. Dickinson does so in two stanzas, with an inconsistent rhyme scheme. This poem is influenced by her religious belief. In it, she uses various literary and poetic elements.

Robert Browning, Elizabeth Barrett Browning, and John Henry Newman were all great poets of the Victorian Era. Though all three of these poets were successful and well known, they did have their differences. This paper is going to show the different views each of these poets had on religion. All three of them had different views; some were against the strict religion of the Victorian Era and more open to a relaxed version that would focus more on the body and the spirit and what it wants. Others didn’t have too much of an opinion on them and were open

Each verse will be analyzed separately with the intention of satisfying the hypothesis of the paper. Each verse will have a standard functional examination followed by exposition.

In this essay we will be studying the Homeric Hymns, including the Hymn to Apollo, to Hermes, and to Aphrodite, with particular emphasis on the Hymn to Demeter. Although he Homeric Hymns are of unknown authorship and differ widely in date, the Hymns that we will be focused on, are generally thought to have been composed between the 7th and 5th centuries BC (citation). The Hymn to Demeter is unlike the other Homeric Hymns in that Demeter refuses to submit to Zeus, and channels her own authority through her gift of fertility; Demeter displays power as a Goddess through her motherhood, not in spite of it, and affronts the

The ideas that are received from the poems of John Donne and George Herbert present us with a very distinct view on God, and more generally, religion. Both were writing in the late 1500s and early 1600s; however the methodologies used by each are very distinct.

Indeed, this sound of sadness is an ancient entity since Sophocles long ago/ Heard it on the Aegean, and it brought/ Into his mind the turbid ebb and flow/ Of human misery. The eternal note of sadness has been important to writers and philosophers throughout time. Arnold believed this same sound existed in all the seas around the world. The waves, sounding of despair, also symbolize the curtailment of religious values. In stanza three the speaker describes the diminishing faith of religion in England: The Sea of Faith/ Was once, too, at the full, and round earths shore/ Lay like the folds of a bright girdle furled. At one point Englands faith was like a high tide. It was similar to a belt being placed around the world, holding it together. During this time people believed in their religion, thus leading England into a state of order and tranquility. However, now the speaker only feels a troubled sense of blankness: But now I only hear/ Its melancholy, long, withdrawing roar,/ Retreating, to the breath/ Of the night-wind, down the vast edges drear/ And naked shingles of the world. This passage emphasizes a mood of uncertainty and alienation in the world. In stanza four, the speaker ends on a note of melancholy. Love is offered as a possible solace from the sadness of the world, but quickly this idea is abandoned for the world,

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”

This poem is generally a pantheism statement exemplified since it equates nature to be having the same powers as God. The poet indeed starts off by stating clearly that "The groves were God's first temples. Ere man learned" an indication that if man is inferior to God, yet God used nature

As Book VIII of John Milton’s Paradise Lost begins, the “new-waked” human Adam ponders the nature of the universe and the motion of the stars (ll. 4-38). When Adam has finished his speech, Milton takes the opportunity to describe Eve, who is listening nearby. We find Eve reclining in the Garden, but with grace, not laziness: “she sat retired in sight,/With lowliness majestic from her seat” (41-42). This “lowliness majestic” is the central phrase to understanding Eve’s character—she is both humble and glorious. Everything that beholds her is captivated by her “grace that won who saw to wish her stay” (43). Even in this paradise, every other beautiful creation is drawn to Eve. She walks