Hangs like a blue thread loosened from the sky:So this winged hour is dropt to us from above
This could be the reference to a inevitable, painful moment that is bound to happen, and in this sentence the author uses a very interesting comparison of fate to "a blue thread", bound to be loosened. This could suggest regret, sorrow or even acceptance
n your fragrant bosom dies
Bosom here could be understood as the care, and in this sentence he could be refering to how their relationship is at stake
Not for the proud man apartFrom the raging moon I writeOn these spindrift pagesNor for the towering deadWith their nightingales and psalms
He does not write for egotistical people who may see themselves as above everyone else, and he does not like to write about the dead.
dividing
I don't really understand the use of the word "dividing" here.
They pause over the sentences that interest them rather than the ones that puzzle them.
And of course, somehow Tiago Forte encourages people to highlight and pay attention to those that interest them.
would, if it were cold
This seems like some type of analogy as if the poet were imagining that they are dead and unable to move their hand. The reasoning is not revealed as to why this might be, but I think that the author is offering a perspective as if they were no longer existing.
dreaming nights
Keats describes the nightmares of counting down the days not only until his brothers death, but his.
But now is tyme to yow for to telle How that we baren us that ilke nyght, Whan we were in that hostelrie alyght;
I wonder why he feels it’s important to include a sort of prologue to the prologue, I feel like he has established the characters sufficiently. The only significant reason to the trip I can come up with is that later in the prologue he introduces it starts with the knight
Greet chiere made oure Hoost us everichon,
Here Chaucer is describing the host like he’s also one of those going on the pilgrimage. I’m not entirely sure exactly how to interpret this other than it’s in Chaucer’s nature to observe and comment on those around him, or that their journey actually begins in the Tabard and the host is in fact a part of it
Yet all heaven’s gifts being heaven’s due,
This line flows very nicely off the tongue, yet I didn't quite understand what it meant. Is it referring to Mary as a gift from heaven?
all things are full of gods
This is a really interesting sentiment that I can't quite wrap my head around. But I do think that it is important that Schnackenberg is distinguishing between this particular statement and the idea that everything has the potential to be animated. This notion breathes life into literally everything in a very interesting way.
When youare what men call dead, you will be sorry you were so stingy."
I like this quotation because it suggests an afterlife where Dickinson could observes the effects of her work on the public and regret her silence in life.
the Negro race has developed as shrewd, cool, and ruth-less leaders as has the white race.
"shrewd, cool, and ruthless leaders" Is this a good thing? A political necessity or virtue?
I think that the repetition from the beginning really ads to that MC Escher feel. Creating something like a mobius strip. The repetition adds to that prison feel as we are back in the place where we started and we haven't found a way out.
he future in the past is fixed forever,Like words locked up in pencils, webs in spiders,Like fames imprisoned in the rnatch tip's sulphu
Are we imprisoned to the future and the past? It is "fixed forever" but does that constitute us being prisoners?
The future in the past is fixed forever
This is kind of hard to wrap your head around, I like it
Milton emphasizes the limited knowledge even of the Son
The Son, who is of the essence of god, does not even have an absolute understanding of god. It is important to Milton that god cannot be truly known by anyone in the poem.
And what is this but to say that the inside of the self stands somehowoutside the sel
I read in a poem once, "i have as many selves, as there are impressions of me in other people" We could also consider the reverse of that, "I have within me the selves of everyone I have ever met" Are we defined by those around us?
Another thought Identity seems to be at least in part a relative thing. 'I' only exists because of 'not I'. And 'I' is defined by 'not I'.
If no one else existed, would you have an identity, would you exist?
Christ be the Churches husband
I have read personifications of the Church as a woman or the wife of Christ in the past, but I always thought it was a bit strange, and maybe a bit of a stretch. I appreciate its metaphorical purpose, but I don't know why it was decided that Christ and Church are married.
how deficient they are in the regulating of their own family; not only in what may concerne the vertuous and decent composure of their minds in their severall places, but that which is of a lower and easier performance, the right possessing of the outward vessell, their body
Milton is really fired up about this issue, probably because he views the people he's speaking about as as morally corrupt as possible, since he claims they have no control over their family, virtues, or bodies because they lack self control. I'm curious what in particular he counts as not taking care of the body or the household
aDd that it is something that wehave <lonc or failed to do as indivicluals that crcates a ratherProtestantizecl and privatc unhappiness'
I like the idea that our unhappiness is a product of our high expectations. But that this is an innocence, or ignorance, that media is quickly unraveling. Although, you would think our history would do the same trick.
Take as an examplc thc myths that cmbody and personifynlan's caPacity for happiness'
This is so subjective though. Also I find it hard to think of myths and folklore that emphasize this.
'Ihe1e is, however, a distinct manner in which the Grimms'talfs were engendered as equilibrium of the genre, and it inv-olved.oralprocreation oitrl.r that becarne very relevant for the strrvival of-people inipecific societies, the interaction of oral and literary tales, and the writingdown, repetition, and hansformation of relevant tales. To a great exlent,this proclss can be traced in the works o[ Straparola, Basile, d'Aulnoy,Lh6ritier, Perrault, and others in this anthology
This makes me think about other old text including sacred texts like the Bible and if they are also a composition of different stories that have been passed down orally
llow did literary fairy tales originate? t{ow did they spread? How was theirgreat hadition formed? There are numerous theories about the origins ofthc fairy tale, but none have provided conclusive proofabout the originaldevelopment of the literary fairy tale
These are wonderful questions, and they are ones that I think over every time I sit down in Mythology. It is so interesting to me that the same story can be retold and reworked over and over and yet it will still find audiences with open arms, prepared to pass it down to their generation and the one that comes after. How do we all come to fall so deeply in love with a story about love that resembles so many others?
we
At mention of how many of these fairy tales arose from being passed down orally, it makes me wonder how many fairy tales that have been forgotten because they were never wrote down and forgot about; and also what the original stories were for some of them such as Red Riding Hood.
Through the medium of stories, adults can talk with children about whatmatters in their lives, about issues ranging fi'om fear of abandonment anddeath to fantasies of revenge and triumphs that lead to happily-ever-aftercndings. While looking at pictures, reading episodes, and turning pages,adults and children can engage in what the cultural critic Ellen Handler-Spitz calls "conversational reading," dialogues that meditate on the story'seffects and offbr guidance fcr thinking about similar matters in the realworld. This kind of reading can take many different turns: earnest, playful,meditatirre, didactic, empathetic, or intellectual.
While I do agree that these stories offer guidance when it comes to dealing with similar matters, I also think that in a way it can create a false reality by conditioning readers to think that by taking similar action like their favorite characters in the stories, they will produce the same outcomes.
There is no doubt, he adds, "that we should bebehaving ourselves very differently if Beauty had never been united to herBeast . . . or if Sister Anne hadn t seen anybody coming; or if 'Open Sesame!'hadnt cleared the way, or Sindbad sailed." \Thether we are aware of it ornot, fairy tales have modeled behavioral codes and developmental paths, evenas they provide us with terms for thinking about what happens in our world.
I think this is difficult to actually prove, and might suggest that it is our own behaviors that shape fairy tales, not the other way around. Though this is definitely up for debate, chicken or egg I suppose.
I might be able to argue that the author is putting too much emphasis on the effect of fairy tales in childhood development. Though I would agree that fairy tales play a role in childhood development, I would add that the impact is more than likely unknowable and their are also so many other factors.