Explication Of The Altar

The first stanza foregrounds the importance of love to the lyrical voice. Throughout the stanzas, the lyrical voice will express his/her particular feelings about something that occurred particularly to him/her. It shows the writing through experience. The poem begins by saying that this lover has no riches and, consequently, couldn’t share them with the lyrical voice “No riches from his scanty store/ My lover could impart”. Notice the alliteration on “scanty store”, which gives a soft feel to the first part of the stanza. Then, the lyrical voice states that this lover gave him/her something that he/she values more “He gave a boon I valued more-”: his heart “He gave me all his heart!”. Notice the great emphasis made on the last line and how the lyrical voice accentuates it by using a final dash and creating a pause at the end of the previous line.

Imagery is a common form of technique used in poetry in which the author uses visualization to demonstrate a vivid scene for the readers. In the poem, “Digging”, he discusses his father’s aging figure and recreates the feeling of the passage of time by mentioning his grandfather digging in a similar fashion. When Heaney says, “Till his straining rump among the flowerbeds; Bends low, comes up twenty years away”, he is most likely referring to a past memory of his father, indicating he has passed away twenty years ago. Heaney vividly remembers his father digging, and compares his father’s digging to his own penmanship when he says at the beginning of the poem, “Between my finger and my thumb/ The squat pen rests; snug as a gun.”, and at the end of the poem when he says, “Between my

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

Wordsworth uses imagery to convey positive images of confined spaces. The first instance of this is in the introduction of the poem, “Nuns fret not at their convent’s narrow room” (Wordsworth 78). A nun is not unhappy with her small room because she is able to find peace there. This is where nuns are able to connect with god. The connections that they feel there helps to provide them with comfort. Even though it may be a small room, it is what they are familiar with and have grown accustomed to. Over time they probably haven’t noticed the small space of the convent because it has been over shadowed by the positive memories formed within the building. Imagery is used throughout the poem to continually convey the theme. All of the images that Wordsworth portrays lead to the same conclusion. Each image that Wordsworth creates in the poem is of a confined space. However, the subject of the image is never trying to flee from this place. In many instances they are drawn towards these compact spaces. All because of the same general reasons, it is comfortable, safe, and familiar.

Since it does, when reading each line, there is a resilient connection that allows the reader to put together and feel for what the narrator is speaking of. As each line is metrically linked, the words are further recited in a durable voice and the poem is virtually put together, musically. In the first and second lines of the third stanza, an apostrophe, a figure of speech that directly addresses an absent person or entity, is presented, “We smile, but O great Christ, our cries to thee from tortured souls arise.”

Throughout the novel "Little Altars Everywhere", written by Rebecca wells, there are changes between the relationships of its characters. Viviane, the mother of Siddalee, Baylor and Little Shep, is one of the main characters, and most of the changes revolve around her. Throughout the novel, it is portrayed that Viviane has a closer relationship with her eldest daughter, Siddalee. Viviane has always been a distant mother, who is more worried with social things such as her "Yaya sisterhood", than developing a close relationship between her and her family. Viviane is not only distant with her children, but she does not have a solid relationship with her husband, Big Shep.

The author uses imagery in the poem to enable the reader to see what the speaker sees. For example, in lines 4-11 the speaker describes to us the

As evident by the title of this poem, imagery is a strong technique used in this poem as the author describes with great detail his journey through a sawmill town. This technique is used most in the following phrases: “...down a tilting road, into a distant valley.” And “The sawmill towns, bare hamlets built of boards with perhaps a store”. This has the effect of creating an image in the reader’s mind and making the poem even more real.

Hellenistic art, let alone architecture, was a period of dramatic transformations that deterred greatly from the Greek Classical period. While the Classical Greek concepts were not entirely abandoned, the Hellenistic period expanded the formal horizons with dramatic posing, sweeping lines, and high contrast of light, shadow and emotion, something greatly different from the Classical artists ideas. The conventions and rules of the Classical period gave way to experimentation and a sense of freedom that allowed the artists of the Hellenistic period to explore their subjects from unique points of view that they had not previously done. The Altar to Zeus in Pergamon is the perfect representation of the Hellenistic period. Pergamon contained

Christians have been celebrating the Lord’s Supper for almost two thousand years. In this paper I will refer to the Lord’s Supper as an ordinance of the church. “An ordinance is an outward rite prescribed by Christ to be performed by His Church.” There are quite a few varying interpretations among the different churches on how the Lord’s Supper is to be practiced. I Corinthians 11:23-34 provides Christians with the scriptural meaning and reasons for observing the Lord’s Supper, also known as communion. Many consider the Lord’s Supper of little or no value and some consider the ordinance as more of a ritual. In some modern churches, preaching the Word is emphasized the most and communion is only observed once a month or

In the third stanza, a lot of imagery is used. The significant ones are present in the seventh and eleventh lines. In the first line, the poet writes, "A

: The structures that make up the Temple of Heaven are meant to signify the relationship between heaven and earth, more importantly the connection between the emperors and God. The through in It was believed that offerings made by the emperor to the Gods, would bring a flourishing harvests, as he was believed to be the closest being to god. The structure itself was built so majestically to represent it descending into heaven. The main ceremonies that were held within the hall were all on the basis of worshipping heaven and so it was believed by doing so, it would be seen as favorable to the gods, enough to be blessed with an abundance supply of harvests such as grain. The ceremonial interior of the hall was built in such a way as to emphasize

The increase of wealth during the twelfth century allowed artists to showcase their talents in churches. The apse titled Christ in Majesty with Symbols of the Four Evangelists in the church of Santa Maria de Mur displays the representation of divinity through its subject matter, technique, and style. In the apse, the main subjects revolve around scenes from the Old and New Testament with Christ as the focal point. For technique, the artist employed fresco painting instead of mosaics to show the images. The style of the apse avoids a sense of realism by hiding the bodies of the figures in the drapery and using the hierarchy of scale.

An example of this is Herbert’s looking towards the Bible for stylistic inspiration rather than to alien imagery and ideas of Donne. Another very important and distinctive characteristic of the poetry is Herbert’s introduction of two quiet final lines, resolving the previously mentioned argument within the poem, without answering any specific points mentioned. The doubts in faith and religion are expressed in intellectual terms by Donne, and the argument is answered in this intellectual style too. Herbert, although occasionally exploring the doubts in an intellectual manner, answers his doubts with emotion. In this specific way, Herbert conveys an explicit insight that one is unable to argue or reason with God; one is aware of God’s presence or one lacks this awareness and guidance.

Religion takes a high toll of the end of the poem and for that reason it’s going to be are final message. The narrator starts talking about a verse in the bible but he can only remember the very first part of it and he keeps acting he’s really religious but he can’t remember the verse. Eliot keeps saying in the poem “For thine is the Kingdom” Is all the narrator remembers and it’s in line 10. The king tries to talk about battle and tries to be inspirational but when he tries to put religious in it he can’t but that one verse. It shows that he’s not as holy as they say he is or what he says he