The Bluest Eye, Toni Morrison

The Bluest Eye, Toni Morrison There are many beautiful things in this world. There are beautiful people, beautiful places, and beautiful things. When telling a story there are ways to portray beauty. Then, on the other hand there are ugly things in this world. Things like the way people look, how situations can be, or how people can be treated. In every book the author will either look to tell the good parts of a story, or to show the bad in the situation. For example, an author could take a person and tell about how fat or poor the person is, and looks to entertain by pointing out those facts. Then on the other hand the author could talk about how perfect and rich a persons life is, and looks to entertain by talking about this. Well in the novel The Bluest Eye Toni Morrison does not portray beauty, but instead shows the ugliness in the world. Toni Morrison shows that it was very hard for Pecola in everyday life. For starters, Pecola was not the richest person. In fact, she and her family where very poor and living in poverty. As stated by Toni Morrison in the novel Although their poverty was traditional and stultifying, it was not unique. (Morrison 38). This quote is talking about the financial issues if the Breedloves family. It states that it is the average poor person situation. Theres nothing too deep about the issue. Instead of Toni Morrison talking about how poor the family is, she could have just shed more light on the good things out of the situation. She shows the way Pecola had to feel every time she wakes up. Out off all of the good things going in the world Pecola has bad things happening to her. Pecola also has to deal with being ugly. In The Bluest Eye it was also stated No one could have convinced them that were not relentlessly and aggressively ugly. (Morrison 38). This quote is showing the attitude that they had about themselves. It says that they felt no one could say much to prove them as not being ugly. They didnt really think highly of themselves. Toni shows how horrible life was for Pecola and her whole family being reminded every day that they are not beautiful. Having in the back of their minds that nobody feels that they are beautiful. In the novel The Bluest Eye Toni Morrison shows how sick and cruel people can be. Racism was shown very heavily towards Pecolas father Cholly when he was caught in the woods with a white girl. Two racist white men picked the perfect opportunity to show the sickness of racism. A recent article stated and we observe Chollys humiliating and traumatic sexual experience at the hands of two white, racist hunters. (Blumenthal 118). The quote tells about a sexual encounter with Cholly. He is caught in the act by two white racist hunters. They proceeded to humiliate him. In the world today sex goes on pretty much everywhere, but it is even worse that in this particular incident a black man was caught in the act by two racist whites. And, instead of just going about their business they just had to humiliate him by forcing him to continue as they watched. The two white men showed no remorse. Also, in The Bluest Eye Toni Morrison began to shed a little light on the cruelty of a fathers relation ship. A recent article shows a readers feelings about the situation, Father will you play with Jane becomes indicative of something darker (Blumenthal 117). This quote shows hidden darkness. It shows how one phrase can become something totally different. It implies that the father is a negative character. Its just shows the sickness of how a father can go and begin to have feelings for his very own blood daughter. Toni portrays this in the novel, and in fact has an entire section in it about the father not controlling his feelings, and actually getting physical with his daughter. Toni has no problem showing how evil the minds of people can be in this day and time, and its only getting worse. Toni Morrison shows how dreams never became reality, and how a young childs is never answered in the particular situation. In the novel Pecola sees her friends and other people around her with beautiful families. She sees this and starts to get ideas about how it would be to have a family like this. In a recent article from a reviewer of The Bluest Eye it was stated she also wants a family unlike her own. (Hirsch 3). In this quote the author is pointing out what Pecola wants. She wants a family not like her own. She doesnt like the one she has. This shows that there is a real issue due to the fact that a poor little girl has to go through feeling as if her family isnt so great, and that she could use a new, more perfect like family. Also Toni Morrison begins the novel off putting in how a perfect family would be with the Dick and Jane story. She does this almost as if to tease the reader that the story will be a perfect life time story. A reviewer recorded Mother, Father, Dick and J ane live in the green -and- white house. They are very happy. (Hirsch 3). This quote shows the perfect family of Dick and Jane. It tells about the house they live in. It is also very vague on details. The reason for Toni Morrison putting this in the beginning of the book was to show you a model beautiful family. Then she writes a novel about a very dysfunctional family. She points out almost everything that could be bad about a family. She shows a daughter being raped, a little girl being inappropriately touched, and a black man being forced to continue to have sex with a girl in front of two racist men. In the novel The Bluest Eye Toni Morrison shows the difficulties and struggles people had to deal with during this time. Most of the time a person is judged only on how they look, and are treated accordingly. In the novel a woman was decribed in these exact words Paulines blackness, her pregnancy, and every other manifestation of her physicality are entirely absent from her visual and cultural intake. (Rokotnitz 396). The quote is talking about Paulines physical appearance. It says that she I basically different on the inside than she is on the outside. She may look a certain way but it doesnt mean she feels that way. Even though she has a very different personality than the way she looks, she still has to deal with those who do not know her personally. She is constantly judged off of the first look. This is just one of the many situations that where dealt with during this time. Another incident deals with a little girl feeling guilty about something that she didnt fully understand. An article for a reader mentions from the novel Claudia holds herself responsible, believing she was to blame for these premature deaths. (Rokotnitz 401). The quote shows that Claudia feels guilty. She feels responsible for the death of the babies. She is too young at the time to understand the entire situation. This shows the ugliness of the novel. A young girl feels guilty of a death. This isnt something a young child should have to go through. Just imagine the hurt she feels and how she will be scared. Toni Morrison portrays the ugliness of the world in the novel The Bluest Eye. For starters, she shows how difficult life can be for the young girl Pecola growing up. Pecola and her family where not wealthy at all. They were actually poor and nothing was unique about them, They were just another poor family, and she had to wake up and deal with this every day. Not only was her and her family poor, but they were also very ugly. No one, including themselves, felt that they were beautiful. They had no hope or self esteem for themselves. Morrison also shows the cruelties of the way people were treated with the two white racist hunters forcing Cholly to continue to have sexual relations. And also, how sick a father could be to harness impure thoughts about a very own blood daughter. Morrison also shows that nothing good happens in this girls life. She dreams of having a perfect family unlike the one she has. In the end, Toni Morrison pointed out nothing beautiful in the story.

Eng 102 Poetry Essay

Denise K. Steen February 28, 2012 English 102 Option #2 Reflections Within is a non-traditional stanzaic poem made up of five stanzas containing thirty-four lines that do not form a specific metrical pattern. Rather it is supported by its thematic structure. Each of the five stanzas vary in the amount of lines that each contain. The first stanza is a sestet containing six lines. The same can be observed of the second stanza. The third stanza contains eight lines or an octave. Stanzas four and five are oddly in that their number of lines which are five and nine.Beginning with the first line in the first stanza, â€Å"The Earth's cool breeze spoke to me†, the meter examined within this line is trimeter, containing seven syllables, iambic and anapestic. The second line in the stanza, â€Å"He said, â€Å"Come to be free,† also trimeter, continues with the iambic syllable and introduces a trochee within its six syllables. The formal characteristics of the first two lines i n conjunction with its text suggests a seemingly serene beginning with a hint of possibility that something is about to change. For example, the meter is the same and the structure of the syllables in each line are similar with slight differences.The third line, â€Å"fly with me, in my winds over the seas. † contains five feet of meter or pentameter, where the pyrrhic syllable is introduced to accompany the previously introduced trochee and iambic syllables in this nine syllable line. The continuance of the second sentence into line three and then closes after â€Å"seas†, paired with the change in meter, suggests the end of consistency and a rise in to what is to come. â€Å"Be the element that I need. â€Å", the fourth , eight syllable line, is written in trimeter with trochee and anapestic syllables.This line returns us to the familiar feeling of the first two lines repeating the trimeter with trochee and anapestic syllables that are present there. The fifth lin e, â€Å"Without you, turbulent winds I stir†, nine iambic, spondee and anapestic syllables are written in tetrameter. The last line of the first stanza, â€Å"calling my anger from above striking the Earth. † is written in hexameter, containing twelve syllables of trochee, iambic and pyrrhic meters. The fifth and sixth line combined contain all of the syllables used in the first four lines of the stanza; iambic, trochee, spondee, anapestic and pyrrhic.This combination suggests the importance of all the elements of the first four lines and likewise are repeated here. Unlike the chaotic scheme of meter throughout the first stanza, the rhyme scheme is more consistent. Masculine rhyme is present here with an end rhyme of aabbcc; me, free, seas, need, stir, Earth. This more consistent pattern continues into the second stanza. In the next six lines of the second sestet the pattern becomes clearly parallel to its text. The seventh line, â€Å"As I refused, the sky started t o pound†, is measured in pentameter with iambic and pyrrhic syllables.The eighth line, â€Å"and I wondered if his love would ever be found. â€Å", repeats the pentameter and the iambic syllable but drops the pyrrhic and is replaced by the anapestic syllable. The difference in the softness of the pyrrhic two unstressed syllables and the anapest, two unstressed syllables followed by a sharper stressed syllable is symbolic of the text, exhibiting compassion during chaos. The ninth line, â€Å"I believe when the first laser like lightning cracked the sky†, fourteen syllables in hexameter with iambic, anapest and an added spondee syllable suggests a rise in the event. The tenth line, â€Å"the Earth's atmosphere surely died. exhibits a decline in its eight syllables from its previous fourteen. There is also a drop in meter from hexameter, six feet, to tetrameter of four feet. Lastly, a drop in the type of syllables in these two lines leaves us with the iambic and sponde e. These obvious declines in the formal characteristics of the text are synonymous to a decline in life or simply death. Again in the eleventh and twelth lines of the second stanza, â€Å"Dirt gray clouds filtered the air above, And just as I began to cry,† we see a repeated pattern of the tetrameter and again the iambic, anapestic and spondee syllables while dropping the anapest in the twelth line.This symbolizes the familiar that is about to proceed in the text. The rhyme scheme in the second stanza ddeefg brings us to an end in the texts' relation to the Earth's cool breeze just as the rhyme pattern discontinues from its previous flow, aabbcc. The third stanza which marks the middle of the poem begins, â€Å"The Ocean said, Come flow freely with me† with ten syllables written in pentameter accompanied by iambic, spondee and trochee syllables. A steady rhythm in meter is noted in the next four lines which declines to trimeter for all four lines. Line fourteen,  "and the creatures in my seas. contains pyrrhic, trochee and anapestic syllables. The fifteenth line in trimeter, â€Å"Here your tears will disappear,† contains for the first time in the poem, a dactyllic syllable accompanied by the iambic syllable. Line sixteen, â€Å"and your worries will cease. † contains again the iambic syllable now accompanied by the pyrrhic syllable. The last line in the series of trimeter lines is line seventeen which states, â€Å"Be the element that I need. â€Å". concludes the metered pattern. In lines fourteen through seventeen the meter is measured the same, however there is a new element added to the syllables previously used in the beginning stanzas.The repeated trimeter is suggestive of familiar situation but the new syllable is symbolic of the relation to the new element in the text, the Ocean. A change, line eighteen, â€Å"Without you, dangerous waters will come to the shores,† spikes with its thirteen syllables written in an inclined meter of pentameter and includes a mesh of anapest, dactyl, pyrrhic and iambic syllables indicating a heightening of awareness or danger. Line nineteen continues, â€Å"calling the pain from my ocean floors†, declines to tetrameter while still containing a mess of syllables, the dactyl, trochee, spondee and iambic, suggesting a heed in warning.The twentieth line concludes, â€Å"and the Earth's land will be no more. â€Å", declines to eight syllables written in tetrameter now only including the pyrrhic, spondee and iambic syllables is suggestive of a last reasonable plea before chaos begins again. The rhyme scheme in the third stanza is not one of an established category, hh (end rhyme: me, seas) ii (internal rhyme: tears, disappear) hh (end rhyme) jjj (end rhyme: shores, floors, more). There is almost an asymmetrical balance in the third stanza between the consistent formal characteristics such as the repeated meter and rhyme scheme to the variance in usage o f syllables.Both are about equal in presence suggesting that peace exists within the chaos of the text. In the fourth stanza we will observe how the text begins to transcend through its formal characteristics and signals a coming to a close or better phrased, resolution. The twenty first line continues, â€Å"As I rejected the offer he had for me†, a familiar variation of line seven, is written in hexameter with iambic, pyrrhic and trochee syllables. The next line, â€Å"White waves began to crash rythmically† lowers to tetrameter and contains nine syllables, spondee, iambic and dactyl.Here the recession in meter is suggestive in comparison to the text and signals to the reader a familiar situation seen earlier in the text. Line twenty three continues on, â€Å"and just as I began to swim†, eight syllables written in tetrameter, again, accompanied only by pyrrhic and iambic syllables signifies a hault in the pace of the text, another change, a possible resolutio n. Line twenty four reveals a slight change, â€Å"A beam of light struck through and within†, although the meter is the same as the last, the pyrrhic syllable is dropped and the anapest is added while continuing with the iambic syllable.The last line in the stanza continues, â€Å"the clouds and shown down on the Ocean's body. â€Å", one step up from tetrameter to the supporting pentameter and a few added syllables as seen before, the pyrrhic, iambic, trochee and anapestic. Stable with a slight change in formal characteristics indicates a window of hope, an open door or a light at the end of the tunnel, when compared to its subject matter. It is here where transcendence truly begins to make an appearance. The rhyme scheme in the fourth stanza is much like the pattern in the first stanza with one exception.The pattern seen here in the fourth is as follows: kkllm (me-rhythmically, swim-within, body). There is no pairing rhyme for m. Suggesting that the subject has lost some thing between the first and the fourth stanza. The final and fifth elongated stanza of nine lines begins, â€Å"It was the Earth's mother star and she said,†, in ten syllables of pentameter with trochee and iambic syllables. The twenty seventh line, â€Å"Yield your fear and dry up that tear†, has eight syllables presented in tetrameter, one less than the previous line, and one more type of syllable accompanies trochee and iambic, the spondee.The meters difference and the difference of the syllables can be interpreted as an intoduction to something new, Earth's mother star. Line twenty eight continues the statement, â€Å"that runs down your red cheek. â€Å", again a lesser amount of meter is found here as it is written in trimeter and accompanied by two types of syllables, the trochee and spondee. A slowing in the meter of these first three lines in the last stanza prepares the reader for its ending, the final resolution.In line twenty nine, â€Å"This is all just a freak of Nature's selfish ways†, the meter again rises to hexameter and introduces again a hodge podge of syllables, the pyrrhic, trochee, iambic and spondee which is suggestive of the mess â€Å"Nature† is in. Line thirty serves as a clearing of the way, â€Å"So understand these and the ones in you† written in pentameter, a decline in meter, indicating a coming to a close. Syllables trochee, spondee and iambic remain indicating stability to come. Lines thirty one through thirty four share a common meter, trimeter. However, their syllables vary slightly in each.For instance, line thirty one, â€Å"and the sky once again will be blue† written with only anapestic measures. Line thirty two, â€Å"Understand the Ocean's pain†, simply the iambic and anapestic syllables. In line thirty three, â€Å"and he too will remain tame† has an added syllable and consists of the anapest, pyrrhic and spondee supportive of a conclusion, a means to an end. A nd finally line thirty four of the five stanzas, â€Å"For these are reflections within. † in finish is settled with the repetative trimeter in eight even syllables of iambic and anapestic syllables suggesting peace, it is now over.The rhyme scheme in the fifth stanza is again unfamiliar. It is constructed as such: n-oo(internal rhyme fear, tear) pp(internal rhyme cheek, freak) q-rr(end rhyme you,blue) ss(end rhyme pain,tame) t. This unusual rhyme scheme is reflective of the texts chaotic events. The overall physical structure of the text supports a theme based on transcendence through nature. No two stanzas are alike. There is constant change in the formal characteristics as well as the text itself. Although it would seem that the chaos of these characteristics would make no sense, it makes perfect sense.There is chaos in the text so why shouldn't there be in the poem's structure? We will now explore the literary devices used throughout the poem and relate them with the domi nant patterns of imagery of Reflections Within. Synesthesia is the first device noted in the first line of the poem. Mixing the sense of feel, â€Å"The Earth's cool breeze, spoke to me†, and the audible sense is combined with the use of imagery. Personification is present here by giving air the human ability to speak. The â€Å"cool breeze† suggests what type of atmosphere the subject is experiencing. He said, Come to be free, fly with me in my winds over the seas. â€Å", suggesting the capacity to submit to feeling and be led by it to transcendence. â€Å"Be the element that I need. † Element, the word is used here as a connotation synonymous to â€Å"love†. â€Å"Without you turbulent winds I stir,† uses kinetic imagery to show motion and suggests change from love to violence. Continuing on to the closure of the first stanza, â€Å"calling my anger from above striking the Earth. â€Å", expressionism is clear here in that this line attempts to portray inner experience characterized by extreme mood or feeling with violent exaggeration.In this first stanza the atmosphere has set the mood that something is uneasy, that there is a conflict or a problem even if unclear at this stage. The second stanza continues the conflict in its first and second lines, â€Å"As I refused, the sky started to pound, and I wondered if his love would ever be found. † suggests a sense of helplessness by the subjects' inability to console the pain of the Earth's cool breeze. â€Å"I believe when the first laser like lightning cracked the sky, the Earth's atmosphere surely died. † several literary devices are used here such as the onomatopoeia â€Å"cracked† resembling the sound that lightning makes.Another connotation is observed in â€Å"atmosphere† used in place of â€Å"heart†. Personification is repeated here in giving the Earth the sense of life through death and dying. The smoothness of the rhyme scheme up until this point in the text is consistent until the next two lines interfere with the structure. â€Å"Dirt gray clouds flitered the air above,† again a change is indicated here suggesting that a new setting is approaching. â€Å"And just as I began to cry,† suggests a sense of helplessness again in that the situation is familiar and unchanging or worsening.Turning to the third stanza the subject finds themselves again in a familiar situation with the Ocean, cornered . â€Å"The Ocean said, Come flow freely with me, and the creatures in my seas† synethesia is evident in the Ocean's ability to speak and make an offering. â€Å"Here your tears will disappear, and your worries will cease. † a promise of security. â€Å"Be the element that I need. † the same connotation made of the word element previously, stands firm here as well. In return, the Ocean asks for love. â€Å"Without you dangerous waters will come to the shores, calling the pain from my ocean floors and the Earth's land will be no more. A condition to the offering, conditional love, which is not truly love at all if it is consequential. This suggests that things aren't quite what they seem in this serene image of ocean waters. This central stanza recalls a similar situation from the first two verses supporting the relationship between the self and nature. It also marks the central high point or climax which eventually must descend. â€Å"As I rejected the offer he had for me,† a variation of the familiar line seven, suggests the beginning of another familiar problem, rejection, in the first line of the fourth stanza. White waves began to crash rhythmically†, kinetic imagery is used here in the word rhythmically which gives motion to the entire phrase suggesting change. There is a change in the mood of the Ocean from calm and serene to violent waves. â€Å"Crash† is used as an onomatopoeia, as the sound waves would make when â€Å"crashingâ €  upon one another. â€Å"And just as I began to swim†, we have now transcended in nature from flying with the winds to swimming in the seas, hence, transcending through nature to locate the genuine. â€Å"A beam of light struck through and within† suggestive of a glimmer of hope, the â€Å"light†. Through and within†, symbolic of the heart or soul, the genuine. â€Å"The clouds and shown down on the Ocean's body†, resolution! The light revealing the Ocean's body puts a stop to its misbehavior, like a child when caught bullying a sibling. This beginning of a resolution signals the root of the subjects' dilemna. â€Å"It was the Earth's mother star and she said,†, again an inatimate object is given human characteristics in speaking, symbolizing personification. Security can be suggestive of the mother star as it is located â€Å"above† all else and is given a godly sense. One that is reveared with power, love, sterness and compassio n.The same as a loving parent or â€Å"mother†. â€Å"Yield your fear and dry up that tear, that runs down your red cheek†, just as a mother would wipe the tears from a crying child's eyes. â€Å"This is all just a freak of nature's selfish ways† here the transcendence between the self and nature come together. â€Å"So understand these and the one's in you, and the sky once again will be blue† is suggestive of oneness with nature, or one in the same, the self. â€Å"Understand the Ocean's pain, and he too will remain tame†, personification is given again to the Ocean giving it the ability to understand or feel pain.This line also exhibits oneness with nature. â€Å"For these are reflections within. † could suggest dramatic monologue being that it is unknown if the author intended to reveal that the reactions of the earthly elements were deeply rooted in the self. This romantic didactic poem shows us that one may have control over what happe ns around them depending on thier outlook on life and how one handles their emotions. Moving on to examining the formal characteristics of William Wordsworth's poem, I wandered lonely as a cloud which shares a common theme with the previous poem Reflections Within, transcendence through nature.I wandered lonley as a cloud is a romantic stanzaic poem consisting of four stanzas each made up of a sestet or six lines for a total of twenty four lines. The first five lines, I wandered lonely as a cloud That floats on high o'er vales and hills When all at once I saw a crowd, A host of golden daffodils, Beside the lake, beneath the trees, are all written in iambic tetrameter. A change is indicated at the end of the stanza when the metered pattern changes as does the rhyme scheme simultaneously. Line six, â€Å"Fluttering and dancing in the breeze. † is nine syllables written in tetrameter accompanied now by an anapest and iambic syllables.The change in rhyme scheme from abab ending t he stanza in cc represents the stable basis that will be repeated throughout the transcendence of the text. The same is noted for the end rhyme scheme of the text per each stanza. The second stanza, Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: alternates between nine and eight syllables, consistent in the rhyme scheme here as dede. All four lines are identical to the formal structure of the previous tetrameter measured lines in the first stanza.However, there is a notable change in the existence of syllables besides the iamb such as the anapest, pyrrhic, trochee, dactyl, and spondee which includes all possible combinations of syllables, suggesting that the text reaches beyond the tangable, including all things, the universe. Lines eleven and twelve of the second stanza stand again as a steady base, Ten thousand saw I at a glance, Tossing their heads in sprightly dance. to support the previous four lin es with its double end rhyme scheme gg, accompanied by eight syllables per line, also written in tetrameter to reinforce the supporting repeated pattern of the subject in text.The third stanza, The waves beside them danced; but they Out-did the sparkling waves in glee; A poet could not but be gay, In such jocund company; I gazed – and gazed- but little thought What wealth the show to me had brought: again continues the same previous pattern of end rhyme, hihijj. Still consistent with the meter measured as tetrameter. Again a conglomorant of syllables are used such as the iamb, pyrrhic, spondee and a trochee which suggests the continuing of the worldly idea and that everything is in place just as it was intended, the way nature intended it. The last stanza in sestet,For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. reverts back to th e structure seen in the first stanza written in iambic tetrameter which is similar to the texts' suggestive flashback. Keeping the flow of the rhyme scheme to its completedness, klklmm is suggestive of a repeated pattern, similar to the subject of the text, a place to be revisited. The overall structure of this text is very organized with regular meter and rhyme.Similar in the way that nature also has a specific order. Transcendence does not make itself obvious here in the physical structure, rather it makes somewhat of a circle reverting back to its original state, similar in the way that nature rejuvinates itself. Wordsworths' words in this text are used as a capacity to submit to feeling and be led by it to transcendence through the use of literary devices and dominant patterns of imagery which we will now examine. The first line, â€Å"I wandered lonely as a cloud† establishes personification, as if a cloud would purposefully think to wander such as a person might do. Tha t floats on high o'er vales and hills†, the beginning of a presented journey. â€Å"When all at once I saw a crowd,† suggests change or something new and exciting. â€Å"A host, of golden daffodils,† a host, suggests a party of people. Perhaps a â€Å"crowd† of people at a gathering. â€Å"Beside the lake, beneath the trees†, suggestive of an out-door event, a reunion or union of such. â€Å"Fluttering and dancing in the breeze† allows the image to become kinetic in setting motion to the â€Å"crowd† of daffodils that are fluttering and dancing amongst themselves, as socialites do at a wedding. Continuous as the stars that shine, And twinkle on the milky way†, suggests an imagery of beauty that goes far beyond what the eye can see. â€Å"They stretched in never-ending line, along the margin of the bay;† suggests a pause as if they were waiting for something. â€Å"Ten thousand saw I at a glance,† suggests a feeling of being overwhelmed by the sight and therefor is exaggerated. â€Å"Tossing their heads in sprightly dance. † uses kinetic imagery to suggest again change. This imagery could be symbolic of bachelorettes waiting in line to catch the bouquet, to make the transformation from bachelorette to bride.The sprightly motion is a feminine suggestion that supports this image. â€Å"The waves beside them danced; but they Out-did the sparkling waves in glee† suggests that even the beauty of the water was no match for the joy of the daffodils. â€Å"A poet could not but be gay, In such a jocund company;† again the insinuation of a group suggests people, in this case of good company. â€Å"I gazed – and gazed but little thought What wealth the show to me had brought† suggests that the subject took the moment for granted and like the fourth stanza, the moment comes to an end. For oft when on my couch I lie In vacant or in pensive mood,† suggests that we are back in the atmosphere of the first stanza wandering lonely as a cloud. â€Å"They flash upon that inward eye†, a connotation of â€Å"inward eye† locates the genuine here, flashing back to the imagination or the mind. â€Å"Which is the bliss of solitude†, suggests that the subject is content with being alone, not restrained by the ties of marriage, enititled to private thought and to think whatever one should want. And then my heart with pleasure fills, And dances with the daffodils† suggests that the subject returns to the nature of being man and appreciates the beauty in nature, be it flower or woman, he has the option to pick from this metaphor. The conclusion of the text recycles the subject back to the familiarity of the beginning text. Transcendence through nature in this text reflects the relationship between the self and the beauty of nature. Reflections Within and I wandered lonely as a cloud are two poems that share the common theme, transcend ence through nature.The major differences between the two text is that the subject in Reflections Within does not achieve being at one with nature until the end of the poem and is supported by its chaotic line structure and variances in syllables and meter. Whereas the second texts' subject is completely at one with nature throughout the entirety of its text and is mirrored in the confindence of the repeated line structure, rhyme scheme and meter. The main focus of both subjects is escape however they differ in motivation. While one subject is trying to escape the negative nature of self, the other escapes to nature in positive imagery.Locating the authentic in both of these texts also differs. The genuine in Wordworth's poem is located in the head or the mind of the subject. The authentic or genuine is located in the heart of the subject of Reflections Within. Both texts are similar in the elements of nature that are used in order to transcend the character through nature such as t he breeze, stars and water or waves. Both texts treat nature with human characteristics such as speaking, dancing and many other motions which are necessary to transcend. Overall both texts treat nature as a source for authenticity and spiritual refreshment.

Definition and Examples of Epitaphs

The Transnational Crime Of Drug Trafficking - 925 Words

In this research paper I will discuss one transnational crime, and compare the contrast of two nations for their definition of the crime rate, and tools used to measure the crime. I will give each country’s legal tradition and their major influences on crime definition, rate, and measurement. In this assignment I will analyze the extent to which crime statistics collected in different nations can adequately be compared. I have chosen to address the transnational crime of drug trafficking in Japan and China. The Japanese legal custom is emulated after the European Civil Law, but is persuaded by the English American legal customs. Japan is generally considered to be a constitutional monarchy. The judicial branch is led by a Supreme Court whose members are approved by the cabinet. A court whose members is appointed by the cabinet such as France and Britain, Japan is a unitary state; that is, it does not hold a federal system of government with division of powers between sta tes and the federal government. The crime rate in Japan is low compared to crime rates in other countries. The crime statistics in Japan are compiled by individual criminal justice agencies and summarized by the Ministry of justice into a statistical yearbook called the White Paper on Crime. You might ask yourself what is White Paper on crime? It involves the research of the system-wide method of arbitration, deterrence and prosecution, with a thought to reducing offending andShow MoreRelatedChallenges Of Transnational Organized Crime1260 Words   |  6 PagesThis essay will discuss some threats transnational organised crime have to Southeast Asian states. By comparing to traditional security paradigm threats, this essay will argue that in order for states to combat transnational organised crime, they must consider and use traditional and non-traditional means. First, this essay will present the security paradigm of traditional security. In this section, this essay will discuss the points of, the focus traditional security has on the protection of theRead MoreHuman Trafficking- The Escalating Global Violation of Human Rights1355 Words   |  6 PagesHuman Trafficking- The Escalating Global Violation of Human Rights Human Trafficking is a serious Global matter that violates a multitude of the Human Rights articles outline in The Universal Declarations of Human Rights. Thousands of individuals are subjects of Human Trafficking every year; the perpetrators of this crime do not discriminate, targeting men, women, the young and the old all over the world. Human Trafficking is indeed a Global issue, occurring in nearly every country on the planetRead MoreTransnational Crimes Are The Organization And Implementation Of Unlawful Business Ventures1337 Words   |  6 PagesTransnational crimes are the organization and implementation of unlawful business ventures by a group of individuals working in more than one country. Transnational’s are able to reposition at any time, make choices based on relative global employment and capitalize on new prospects. These inviduals play a major role in the globalization of transnational crimes and contributes tremendously in organized crimes. Transnational cr iminals have been one of the largest beneficiaries of globalization. OverRead MoreThe Problem Of Human Trafficking883 Words   |  4 Pagesinterest in ending human trafficking, a complex and multi-faceted phenomenon, has been slow and selective. The inner reason for the poor success is the prevailing conception of the problem. 2. 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For such a large feat of gainingRead MoreHuman Trafficking : A Global Persp ective1402 Words   |  6 PagesIn Human Trafficking: A Global Perspective, Louise Shelley examines why and how human occurs. Dr. Shelley, founder and director of the Terrorism, Transnational Crime and Corruption Center and Professor in the School of Public Policy at George Mason University is a lead expert on transnational crime and terrorism. She has written numerous works on all sides of transnational crime and corruption. The main focus of her work is on the former Soviet Union. Shelley does an excellent job on giving the readerRead MoreHow Drug And Human Trafficking Differ From Traditional Security Threats1077 Words   |  5 PagesMunro’s ‘borderlands’, the Golden Triangle, or other places within Southeast Asia. How drug and human trafficking differ from traditional security threats are that unlike traditional external military threats which represent a state or a force, transnational traffickers are a part of a globalise network of groups and individuals. Discussed in the previous paragraph, people that are a part of the trafficking industry range from everyday people and businessmen, to criminal groups; with the only relationRead MoreThe United Nations Office on Drugs and Crime Is Combating Drugs, Terrorism, and Criminal Activity529 Words   |  3 PagesThe United Nations Office on Drugs and Crime (UNODC) is the unit of the United Nations (UN) charged with combating illicit drugs, terrorism, and other criminal activity. It is headquartered in Vienna, Austria, and has twenty-one field offices and a liaison office in New York. The agency has approximately 500 members across the globe who develop and enforce drug control policies that are responsive to their individual needs. The UNODC’s work program consists of three major pillars. The first of theseRead MoreTransnational Crime Essay1890 Words   |  8 PagesTransnational Crime Comparative Criminal Justice Systems Introduction: Transnational crime is a growing problem. Transnational crime is defined as â€Å"self-perpetuating associations of individuals who operate transnational for the purpose of obtaining power, influence, monetary and/or commercial gains, wholly or in part by illegal means, while protecting their activities through a pattern of corruption and/ or violence, or while protecting their illegal activities through a transnational structureRead MoreIllicit Drug Trafficking : An Organized Crime1481 Words   |  6 Pagesillicit drug trafficking. It explores 10 online research articles and websites that relate to illicit drug trafficking. These articles however, vary in their research about the topic. It begins by stating how illicit drug trafficking is considered an organized crime. Two of the main drugs that are trafficked are cocaine and heroin. As a result of drug trafficking, the war on drugs has been a problem for many decades in different countries. Introduction An organized crime group is