The time that Auden writes this poem is important to note as it’s just around the beginning of World War II which is possibly why he is “uncertain and afraid”. America has just come from one of it’s lowest lows in the form of the Great Depression in the 30s and is now entering a second world war to cap off the decade. The culture of fear that surrounds the country, leaves people fearing that hope is impossible which is one of the main focal points of the poem. Is there a light at the end of this tunnel and how can we know that it is possible?

The revelation of the “three strange angels” knocking at the door in the middle of the night is interesting because Lawrence initial reaction is that of fear, “somebody wants to do us harm”. Once it’s revealed that it is actually the angels, Lawrence quickly changes his mind and calls for the angels to be admitted into his home. Here, he is yielding himself from his fears, an argument that he expresses throughout the poem. Once must yield themselves if they truly want to live.

The relationship between Mrs. Warren and Vivie is complicated as the former keeps her true intentions hidden, forcing Vivie to change her original perceptions of her. Here especially, the Vive perceives Mrs. Warren has completely changed as her true intentions start to unravel. It’s revealed that Mrs. Warren is taking advantage of the Reverend, and has no qualms about doing so completely shattering the good image she puts forth.

The fruit sold in the marketplace is very well a symbol of sexual temptation and Laura is, in a sense, ruined by falling those temptations. Despite this, the poem ends with Laura’s marriage which seems as though she is able to rise from the ruin of the marketplace, but marriage during Roffetti’s time was more of a business transaction rather than one of love. Roffetti could be insinuating that the fruit being sold in the market could be a symbol of male desire and the goblins are wealthy men who try to seduce young women into marriage. This could be proven by the sisters lamenting the days of when they were living together and unmarried. Roffetti could be claiming that the idea of marriage, while seemingly happy and an easy way of going through life in the 19th century, is “poison in the blood” of young women and forces them to live the domestic life trapped in their homes - taking the marriage plot narrative and turning it on its head.

Linton in comparison to his father becomes an interesting character because he does not resort to the same actions as the other characters in Wuthering Heights. His father, through deplorable means, rose his way through the ranks to become the owner of two large properties; hurting everyone he could along the way. Linton, instead is a sniveling weakling who has to use his words to get others to do what he wants. It could be because, unlike most of the other characters, Linton was raised away from this environment for a large part of his life and possibly doesn’t have the capacity to resort to violence like everyone else.

Hindley’s claim here is interesting; on one hand he seems to be condemning Heathcliff for his actions against the Earnshaw and Linton families, but also realizes that the only way to fight against him is to sink down to his level. The cycle of revenge is a recurring theme in Wuthering Heights. Hindley torments Heathcliff, so Heathcliff steals his estate out from under him. Catherine marries Edgar, so Heathcliff marries Isabella. Here, Hindley offers an end to the cycle (at least an end to Heathcliff’s brutality) and pleads with Isabella to allow him to kill her husband. It’s ironic how Hindley justifies this action by describing Heathcliff as a “hellish villain”, which is how Heathcliff is usually described, when he himself is going out of his way to commit a hellish act which would, in turn, continue on with the cycle of revenge.

This scene is important because throughout the entire novel, it has been Heathcliff who is portrayed as a devilish character; using words like “demon” and “monster” to describe him despite the fact that many other characters have committed similar atrocities. This scene also notes the beginnings of Hindley’s downfall as he starts tormenting other members of his family and sets up Heathcliff’s rise to power. For the first time, Heathcliff comes out the hero as he’s the one who saves Haretonl Heathcliff is seen as a savior and it’s apparent that he is not the only “monster” shown through the characterization of Hindley. This scene, while seemingly minor, forces the reader to change their perception of Heathcliff as this monstrous being and, while he does commit deplorable acts later on, it shows that he might be worthy of some kind of redemption.

The language used both by and around Heathcliff is interesting as his origins are a mystery to both the characters and us as the readers. The description of Heathcliff's character and physical appearance is surrounded by dark imagery as Nelly comments that he is not a "regular black" and Heathcliff laments over the fact that he wishes he had fairer skin. Because Heathcliff's origins are unknown to us it is hard to pinpoint whether he is mistreated because of his lower economic status only, or if this is couple with the fact that he might be of a different race. This thought is expressed further when Nelly tries to comfort Heathcliff by mentioning he could be of royal origins, however she chooses to describe him using an "Emperor of China" as a father and his mother being "an Indian queen". Brontë purposely chooses to include non-white royalty when describing Heathcliff hinting that he might be a person of color as well. This notion could speaks as to why he's treated as an outsider to the rest of the characters living in Wuthering Heights.

The first few chapters of Wuthering Heights introduces the reader to many different names of characters in a short span of time with many characters sharing names as there are mutiple Catherines, Heathcliffs, Earnshaws, etc. However here we are introduced to a character without a name - only referred to as “it” and, at one point, a brat. This decision to leave this character unnamed shows a clear divide between the other characters. Since the story is written through Lockwood and then Nelly’s points of view, we’re given a look into how he thinks; the fact that he hasn’t bothered to learn this child’s name as he did with all the other characters he’s interacted with shows that he doesn’t consider “it” on the same level as his other peers. This is further reinforced as he states that Mrs. Earnshaw was “ready to fling it out of doors” as if this child was garbage that needed to be thrown out.

Fanny’s homecoming is a strange event for her as she now realizes that in her current position, she doesn’t have much of a home anymore. While she is the outsider at Mansfield Park, she has suddenly become too proper for her family in Portsmouth and can no longer relate to them. This is interesting to note because throughout the entire novel the reader has been led to believe that Fanny did not belong with the Bertrams because she did not come from a wealthy family. However, now that Fanny has spent so many years in Mansfield Park, she no longer relates to the poor, belligerent family she was born into. It seems as if Fanny doesn’t truly belong anywhere in the novel and it speaks volumes in her quiet, timid personality. At Mansfield Park the Bertrams are loud and are constantly talking about Fanny whether or not she’s around and in Portsmouth, Fanny is basically ignored by her family despite their brash personalities. Fanny only finds comfort in her brother who also, in a sense, is an outsider as he has been away from home like his sister.

For the first time since her arrival to Mansfield Park, Fanny is seen as an object of affection. She has aged gracefully into a beautiful young woman and is finally teated as a member of the family with actual value in society. Here, for a moment, Fanny is picturing the pursuit of a husband as many high society girls do when they come of age, as one of adventure and fun. But despite these new feelings of acceptance, Fanny is still an object - just one worth looking at now. Her anxiety begins to come forth further down as she laments over her inexperience in these social settings and her lack of confidence showing that now that she’s worth looking at, there’s the possibility that she’ll only be judge more critically as she goes forward in life. It begs the question as to whether Fanny was better off as she was before.

Here, Austen is using acting and theater as a representation of lies and deceit. Much like how our main characters are not only lying to the people around them, but are also lying to themselves as well. The fact that the house is being used as as the setting for the play is significant as well since the characters are putting on a show for an audience both in the play and in their everyday lives. While everyone is eager to participate in the performance, as usual, Fanny does not join in the festivities and gets upset when Edmund joins in despite his previous reservations. Once again, Fanny is in the position of the observer and her insistent refusal to participate in acting along with everyone else could be an indicator that she is the only character that is not deceitful.

One of the main themes of Austen's, Mansfield Park that we're introduced to is the idea of social status among women and the idea of social mobility through marriage. This is probably why the opening line starts out with Maria Ward, a beautiful, but not economically stable woman marrying a man of a much higher status and thus elevating the chances of her sisters marrying similar men. (When in fact they seem to settle for the exact opposite) With this large importance placed on who a woman marries, there is this feeling of competition among women seeking eligible bachelors that will shoot them upward the social ladder. This theme is ever present when Mrs. Norris and the Bertrams discuss taking in Fanny Price, the wayward daughter of Mrs. Norris and Lady Bertram's other sister. They decide to take in Fanny not out of the goodness of their hearts, but to keep up with appearances and make it clear to remind the girl of her lower status.

As time is passing and Wordsworth is growing older, he's saying here that he does not get the same joy from nature as he did in his youth; his relationship with the world has changed as he grew old. It could be that because he has grown older, he doesn't have any time for a childish idolization of nature anymore. Despite this, Wordsworth still reflects on his youth, however he makes sure not to dwell on his past for too long.

In the first line, Keats is personifying the aspects of autumn. Perhaps he is comparing it to a woman, who's hair is blowing in the wind, as his commentary on the beauty of autumn could also be interpreted as a comparison to the beauty of a woman. The second line describes the groggy, drowsy feeling that comes during the season of autumn as the air is peaceful and filled with trees and flowers dying.

I feel like this line could be a reference to how the convict is shamed by society. The fact that they're an "outcast" could be referring to how they're both different from the social norm and literally outcasted from the population; locked in a cell far away from everyone else. The use of the word "pity" could also be used to have the reader feel sympathy for the convict. It's possible that it is not entirely their fault that they're in their current situation and, even if it is, there should be a sense of redemption for them.