Eyes Of The Poor Baudelaire

“It’s society’s fault!” many say as they encounter various issues in the world, whether it is talking about moral development, crime, or the influence of famous characters on people’s life. This, presumably, is a reflection of the worry people have for society’s evolution, and their interpretation of their own experiences and knowledge. Therefore, it could be argued that each individual would have completely different perspectives of the matters that oppress society, but it would unrealistic to draw this conclusion because it would deny the existence of a convergence point between cultures. Consequently, this convergence point would be reflected in works of art of different sorts, such as poetry, paintings, novels, and others where daily occurrences

As she passes the ruins she recreates the pleasant things that had been there. Despite the reasonable arguments that her goods belonged to God and whatever God does is just, there is in the poem an undercurrent of regret that the loss is not fully compensated for by the hope of the treasure that lies above. (84)

In late 19th century Paris, cafés-concerts (best described as “glorified beer halls” (Clark 206)) were a very popular destination for the people of Paris. Cafés-concerts became an integral part of Parisian social life, as they were visited by hundreds of people each night, regardless of class. A bar at the Folies Bergère became the topic of Edouard Manet’s last painting, as Manet tried to portray the new, “modern” Paris, and the introduction of mass production during this time. A Marxist art historian, T.J. Clark finds this particular painting important because it revealed a lot about the new, modern Paris, and Manet’s intentions with the painting. Clark focuses more on the emergence of the new social class during this time, and how this affected the role of women in Paris. The painting, A bar at Folies Bergère, has historical significance because of how it depicts modernity in the context of the emergence of a new social class (the petite bourgeoisie), the introduction of mass production, and the changing role of women.

When a reader grasps a theme throughout any piece of literature, he or she never clearly understands the intent without knowing where the theme came from. The theme that is portrayed in the poem is, often times reconnecting with a loved one cannot only bring happiness, but it can also bring sorrow. This theme was emphasized throughout the poem and without knowing the historical context of the poem, one could not necessarily understand where it came from. In the text it

The opening lines of the poem show how strong her feelings are for her husband. Bradstreet shows this by the use of a great example of a paradox, “if two were one, then surely we.” This shows that the magnitude of her love and affection is so deep that she’s comparing two beings as one. She praises her love for her husband so much

It all started with the three Baudelaires children on a sunny day at the beach. Violet, the eldest of the three, loved creating things with her mechanical engineered mind. Klaus, the middle child, absolutely loved reading books about everything. He wanted to learn anything he possibly could. Sunny the youngest of the three, loved biting on anything she liked. These three the children inherited an enormous fortune, due to their parents success in life.

In Baudelaire's poem "The Eyes of the Poor," the poet Charles Baudelaire creates an image for himself as a poet longing to create a union of souls with a woman whom he loves until the end of the poem. As a dissolute man-about-town he talks about the cafes he and the woman spend time in. He yearns to be one with her soul in a manner that eludes both of them. While part of the Romantic aesthetic was the idealization of the pastoral, Baudelaire shows the side that reflects the urban side of the Romantic. Baudelaire projects himself onto the image of other souls, but rather than the pure, untouched souls of rural folk, he sees an image of the urban poor that tears at his heartstrings, although he does not say so explicitly in the poem.

In the second and third quatrains, the speaker uses analogies to describe why he wouldn't return to his lover. In each of the analogies, Gascoigne uses an animal longing for their object of desire. In the first second quatrain, it is a mouse that doesn't not fall for the same trap it once escaped from. In the third quatrain, it is the fly that will not be scorched by the same flame twice. In both analogies, the subjects escape from a dangerous conflict, only to want to return to that conflict again, as the desire is one that the subject needs to survive. By using this type of application to show the speaker’s conflict, the speaker better shows and develops their attitude towards the main subject of the poem. The imagery in these analogies helps to create the complex attitude of the speaker because by using the analogy, the reader is able to connect the speaker's feelings to a real life situation. The audience is able to better understand the scenario because the author compared it to an everyday scenario that can be easily pictured. Gascoigne skillfully uses imagery in the form of analogies to convey the complex attitude of the

In the poem “For That He Looked Not Upon Her” by George Gascoigne, the speaker expresses his lack of faith towards a women who betrayed him, through the imagery and diction used. George Gascoigne writes the poem in one stanza that helps readers focus on the speaker's feelings. To help readers understand his feelings of betrayal he uses the image of a mouse and a fly. “The mouse which once hath broken out of trap”( line 5) “The scorched fly which once hath scaped the flame. ”(line

Enlightenment philosopher John Locke once said, “Let us then suppose the mind to be, as we say, white paper void of all characters, without any ideas. How comes it to be furnished? … To this I answer, in one word, from EXPERIENCE” (Locke, 1689). Locke described how the human mind is initially a blank slate that is flourished with knowledge and sensory experiences. Within the past few centuries, the idea of grasping knowledge and experience from the natural world has gradually lost its appeal. In the poems, "Correspondences," by Charles Baudelaire, and "273," by Emily Dickinson, critical differences between both authors are exemplified through the use of language and personification. The similarities reside within the common theme of appreciating the natural world because one’s experience with nature is ultimately subjective. Nevertheless, both poems motivate readers to pay more attention to nature because it will help them learn more about their individuality and perception.

Zola’s novel is set in a Paris that is defined by oppositional economic classes that struggle to gain prosperity and security in the Belly of Paris. The opposing socioeconomic camps in The Belly of Paris distinctly resemble those illustrated by Karl Marx. In The Communist Manifesto, Marx describes a society that splits itself “into two great classes directly facing each other: Bourgeoisie and Proletariat (Marx & Engels, 220).” Moreover, Marx argues that the capitalist class, or the Bourgeoisie, has “conquered for itself, in the modern representative State, exclusive political sway (Marx & Engels, 221).” In Zola’s naturalist observation of nineteenth century France, the reader imagines a distinct struggle between these two classes.

It is fairly apparent that a number of political overtones dominate Emile Zola's novel Germinal, which is the 13th book of nonfiction within the writer's Les Rougon-Macquart, a 20-volume series of novels. The author published this work of literature in 1885, less than 50 years after Marx and Engels unveiled the Communist Manifesto which was still plenty of time for a number of the ideologies propagated in this manuscript to take hold of popular culture and political theorists alike. In fact, one could successfully make a claim that the central theme of Germinal actually revolves around the conceptions of class antagonism that is an inherent part of an exploitative, bourgeois society such as that depicted in the French coal mining town in 1860, the setting for Germinal. A thorough analysis of this literary work illustrates that there are several instances of class antagonism, which are central to the plot of this book and provide its primary theme.

This weariness with life is a symbol of schizoid suicide, which leads into withdrawal into death, into a ghostly world. In the unconscious, the narrator believes that the corruption of relationships through sexual contact brings nothingness. This again indicates the presence of a schizoid element in his mind. A person with a schizoid mind seeks isolation. Union with a woman will not take him into the path of separateness, so he buries the woman. Now he can be free. He is alone but alive. In the process, he is denouncing the "inferior" half of himself, the woman in him, the part that he fears may corrupt and make him diseased. He expresses the intolerable perplexity of woman as a focus of appearance and reality.

Written by Gustave Flaubert and published in 1856, Madame Bovary tells a story about the life and death of Emma Bovary, a middle class woman living in mid-nineteenth century France. This novel is known as one of the best examples of literary realism ever written, and for good reason. Through his writing and attention to detail, Flaubert does an excellent job of giving the reader an idea of just how mundane everyday life was like in France during the mid-nineteenth century. Through the various characters in the novel, Flaubert is also able to portray many positive and negative characteristics he saw in the people living during this time. Of the many different characteristics and ideas that Flaubert uses to describe characters throughout the novel, I think that the many aspects he saw in the bourgeoisie class and materialism are uniquely important. I believe that the ways Flaubert uses the ideas and issues of materialism and similar principles he saw in the bourgeoisie to tell the story of Madame Bovary, to criticize the bourgeoisie, as well as show how harmful and destructive he believed these issues could be to a society.

In his novel, Les Miserables, Victor Hugo identifies the principle social evils of French society through the actions and qualities of his characters. By depicting each of his characters’ struggles through destitute and oppressed measures, Hugo is able to identify the social errors of 19th century France. The fact that characters such as Valjean, Javert, Fantine, and Cosette, attempt to rise above poverty and redeem themselves indicate that such inequalities did, and still do, exist to this day. Through the use of feminist ideals and the criminal injustice system, Hugo attacks the principle social evils that each of his characters face in Les Miserables.