Assignment Essays essays are NOT intended to be forwarded as finalized work as it is only strictly meant to be used for research and study purposes. Assignment Essays does not endorse or condone any type of plagiarism Sep 05, · With the indulgence, to the utmost extreme, of this self-torture, the narration, in what I have termed its first or obvious phase, has a natural termination, and so far there has been no overstepping of the limits of the real. Works - Essays - The Philosophy of Composition (Text) We even have an urgent delivery option for short essays, term papers, or research papers needed within 8 to 24 hours. We appreciate that you have chosen our cheap essay service, and will provide you with high-quality and low-cost custom essays, research papers, term papers, speeches, book reports, and other academic assignments for sale
Thumbscrew (torture) - Wikipedia
Last Update: Sept. He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting essays on torture what essays on torture been done.
I cannot think this the precise mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.
There is a radical error, I think, in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to essays on torture in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial comment, whatever crevices of fact, or action, may, from page to page, render themselves apparent.
I prefer commencing with the consideration of an effect. I have often thought how interesting a magazine paper might be written by any author who would — that is to say, who could — detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion.
Why such [column 2:] a paper has never been given to the world, I am much at a loss to say — but, perhaps, the autorial vanity has had more to do with the omission than any one other cause. Most essays on torture — poets in especial — prefer having it understood that they compose by a species of fine frenzy — an ecstatic intuition — and would essays on torture shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought — at the true purposes seized only at the last moment — at the innumerable glimpses of idea that arrived not at the maturity of full view — at the fully matured fancies discarded in despair as unmanageable — at the cautious selections and rejections — at the painful erasures essays on torture interpolations — in a word, at the wheels and pinions — the tackle for scene-shifting — the step-ladders and demon-traps — the cock's feathers, the red paint and the black patches, which, in ninety-nine cases out of the hundred, constitute the properties of the literary histrio.
I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell, essays on torture pursued and forgotten in a similar manner, essays on torture.
For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions; and, since the interest of an analysis, or reconstruction, such as I have considered a desideratumessays on torture, is quite independent of any real or fancied interest in the thing analyzed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of essays on torture own works was put together.
It is my design to render it manifest that no one point in its composition is referrible either to accident or intuition — that the work proceeded, essays on torture, step by step, to its completion with the precision and rigid consequence of a essays on torture problem. Let us dismiss, as irrelevant to the poem per se, the circumstance — or say the necessity — which, essays on torture, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.
The initial consideration was that of extent. If any literary work is essays on torture long to be read at one sitting, we must be content to dispense with the immensely important effect derivable from unity of impression — [page ] for, if two sittings be required, the affairs of the world interfere, and every thing like totality is at once destroyed.
But since, ceteris paribus, no poet can afford to dispense with any thing that may advance his design, it but remains to be seen whether there is, in extent, any advantage to counterbalance the loss of unity which attends it. Here I say no, at once. What we term a long poem essays on torture, in fact, merely a succession of brief ones — that is to say, of brief poetical effects.
It is needless to demonstrate that a poem is such, only inasmuch as it intensely excites, by elevating, the soul; and all intense excitements are, essays on torture a psychal necessity, brief. Within this limit, essays on torture, the extent of a poem may be made to bear mathematical relation to essays on torture merit — in other words, to the excitement or elevation — again in other words, to the degree of the true poetical effect which it is capable of inducing; for it is clear that the brevity must be in direct ratio of the intensity of the intended effect: — this, with one proviso essays on torture that a certain degree of duration is absolutely requisite for the production of any effect at all.
Holding in view these considerations, as well as that degree of excitement which I deemed not above the popular, while not below the critical, taste, I reached at once what I conceived the proper length for my intended poem — a length of about one hundred lines, essays on torture.
It is, in fact, a hundred and eight. My next thought concerned the choice of an impression, or effect, to be conveyed: and here I may as well observe that, throughout the construction, I kept steadily in view the design of rendering the work universally appreciable. I should be carried too far essays on torture of my immediate topic were I to demonstrate a point upon which I have repeatedly insisted, and which, with the poetical, stands not in the slightest need of demonstration — the point, I mean, that Beauty is the sole legitimate province of the poem.
A few words, however, in elucidation of my real meaning, which some of my friends have evinced a disposition to misrepresent. That pleasure which is at once the most intense, the most elevating, essays on torture, and the most pure, is, I believe, found in the contemplation of the beautiful.
Now the object, essays on torture, Truth, or the satisfaction of the intellect, and the object Passion, or the excitement of the heart, essays on torture, are, although attainable, to a certain extent, in poetry, far more readily attainable in prose. Truth, in fact, demands a precision, and Passion, essays on torture, a homeliness the truly passionate will comprehend me which are absolutely antagonistic to that Beauty which, I maintain, is the excitement, or pleasurable elevation, essays on torture, of the soul, essays on torture.
It by no means follows from any thing here said, essays on torture passion, or even truth, may not be introduced, and even profitably introduced, into a poem — for they may serve in elucidation, or essays on torture the general effect, as do discords in music, by contrast — but the true artist will always contrive, first, to tone them into proper subservience to the predominant aim, and, secondly, to enveil them, as far as possible, in that Beauty which is the atmosphere and the essence of the poem.
Regarding, then, Beauty as my province, my next question referred to the tone of its highest manifestation — and all experience has shown that this tone is one of sadness. Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones.
The length, the province, and the tone, essays on torture, being thus determined, essays on torture, I betook myself to ordinary induction, with the view of obtaining some artistic piquancy which might serve me as a key-note in the construction of the poem — some pivot upon which the whole structure might turn, essays on torture. In carefully thinking over all the usual artistic effects — or more properly points, in the theatrical sense — I did not fail to perceive immediately that no one had been so universally employed as that of the refrain.
The universality of its employment sufficed to assure me of its intrinsic value, and spared me the necessity of submitting it to analysis. I considered it, however, with regard to its susceptibility of improvement, essays on torture, and soon saw it to be in a primitive condition. As commonly used, the refrain, or burden, not only is limited to lyric verse, but depends for its impression upon the force of monotone — both in sound and thought.
The pleasure is deduced solely from the sense of identity — of repetition. I resolved to diversify, and so vastly heighten, the effect, by adhering, in general, to the monotone of sound, while I continually varied that of thought: that is to say, I determined to produce continuously novel effects, by the variation of the application of the refrain — the refrain itself remaining, for the most part, unvaried.
These points being settled, I next bethought me of the nature of my refrain. Since its application was to be repeatedly varied, it was clear that the refrain itself must be brief, for there would have been an insurmountable difficulty in frequent variations of [page ] application in any sentence of length.
In proportion to the brevity of the sentence, would, of course, essays on torture, be the facility of the variation. This led me at once to a single word as the best refrain. The question now arose as to the character of the word. Having made up my mind to a refrain, the division of the poem into stanzas was, of course, a corollary: the refrain forming the close to each stanza.
That such a close, to have force, essays on torture, must be sonorous and susceptible of protracted emphasis, admitted no doubt: and these considerations inevitably led me to the long o as the most sonorous vowel, in connection with r as the most producible consonant.
The sound of the refrain being thus determined, it became necessary to select a word embodying this sound, and at the same time in the fullest possible keeping with that melancholy which I had predetermined as the tone of the poem. Here, then, immediately arose the idea of a non -reasoning creature capable of speech; and, very naturally, a parrot, in the first instance, suggested itself, but was superseded forthwith by a Raven, essays on torture equally capable of speech, essays on torture infinitely more in keeping with the intended tone.
And here it was that I saw at essays on torture the opportunity afforded for the effect on which I had been depending — that is to say, the effect of the variation of application.
Here then the poem may be said to have its beginning — at the end, where all works of art should begin — for it was here, essays on torture, at this point of my preconsiderations, that I first put pen to paper in the composition of the stanza:. prophet still if bird or devil! I composed this stanza, at this point, first that, by establishing the climax, I might the better vary and graduate, as regards seriousness and importance, the preceding queries of the lover — and, essays on torture, secondly, that I might definitely settle the rhythm, the metre, and the length and general arrangement of the stanza — as well as graduate the stanzas which were to precede, so that none of them might surpass this in rhythmical effect.
Had I been able, in the subsequent composition, to construct more vigorous stanzas, I should, without scruple, have purposely enfeebled them, so as not to interfere with the climacteric effect. And here I may as well say a few words of the versification. My first object as usual was originality, essays on torture. The extent to which this has been neglected, in versification, is one of the most unaccountable things in the world.
Admitting that there is little [page ] possibility of variety in mere rhythm, it is still clear that the possible varieties of metre and stanza are absolutely infinite — and yet, essays on torture, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original thing.
The fact is, originality unless in minds of very unusual force is by no means a matter, as some suppose, of impulse or intuition. Essays on torture general, to be found, essays on torture, it must be elaborately sought, and although a positive merit of the highest class, demands in its attainment less of invention than negation. Less pedantically — the feet employed throughout trochees consist of a long syllable followed by a short: the first essays on torture of the stanza consists of eight of these feet — the second of seven and a half in effect two-thirds — essays on torture third essays on torture eight — the fourth of seven and a half — the fifth the same — the sixth three and a half.
The effect of this originality of combination is aided by other unusual, and some altogether novel effects, arising from an extension of the application of the principles of rhyme and alliteration. The next point to be considered was the mode of bringing together the lover and the Raven — and the first branch of this consideration was the locale.
For this the most natural suggestion might seem to be a forest, or the fields — but it has always appeared to me that a close circumscription of space is absolutely necessary to the effect of insulated incident: — it has the force of a frame to a picture, essays on torture.
It has an indisputable moral power in keeping concentrated the attention, and, essays on torture course, must not be confounded with mere unity of place. I determined, then, to essays on torture the lover in his chamber essays on torture in a chamber rendered sacred to him by memories of her who had frequented it. The room is represented as richly furnished — this in mere pursuance of the ideas I have already explained on the subject of Beauty, as the sole true poetical thesis.
The locale being thus determined, I had now to introduce the bird — and the thought of introducing him through the window, was inevitable. I made the night essays on torture, first, to account for the Raven's seeking admission, and secondly, for the effect of contrast with the physical serenity within the chamber.
I made the bird alight on the bust of Pallas, also for [column 2:] the effect of contrast between the marble and the plumage — it being understood that the bust was absolutely suggested by the bird — the bust of Pallas being chosen, first, as most in keeping with the scholarship of the lover, and, secondly, for the sonorousness of the word, Pallas, itself. About the middle of the poem, also, I have availed myself of the force of contrast, with a view of deepening the ultimate impression. For example, an air of the fantastic — approaching as nearly essays on torture the ludicrous as was admissible — is given to the Raven's entrance.
Not the least obeisance made he — not essays on torture moment stopped or stayed he. But with mien of lord or lady, perched above my chamber door. In the two stanzas which follow, the design is more obviously essays on torture out: —.
Ever yet was blessed with seeing bird above his chamber door —. Bird or beast upon the sculptured bust above his chamber door. The effect of the dénouement being thus provided for, I immediately drop the fantastic for a tone of the most profound seriousness: — this tone commencing in the stanza directly following the one last quoted, essays on torture, with the line.
From this epoch the lover no longer jests — no longer sees any thing even of the fantastic in the Raven's demeanor. So far, every thing is within the limits of the accountable — of the real. But in subjects so handled, however skilfully, or with however vivid an array of incident, essays on torture, there is always a certain hardness or nakedness, which repels the artistical eye.
Two things are invariably required — first, some amount of complexity, essays on torture, or more properly, adaptation; and, secondly, some amount of suggestiveness — some under[[-]]current, however indefinite of meaning.
It is this latter, in especial, which imparts to a work of art so much of that richness to [column 2:] borrow from colloquy a forcible term which we are too fond of confounding with the ideal. It is the excess of the suggested meaning — it is the rendering this the upper instead of the under[[-]]current of the theme — which turns into prose and that of the very flattest kind the so called poetry of the so called transcendentalists, essays on torture.
Holding these opinions, I added the two concluding stanzas of the poem — their suggestiveness being thus made to pervade all the narrative which has preceded them. The under-current of meaning is rendered first apparent in the lines —. The reader begins now to regard the Raven as emblematical — but it is not until the very last line of the very last stanza, that the intention of making him emblematical of Mournful and Never-ending Remembrance is permitted distinctly to be seen:.
As the columns are rather narrow, these quotations are not centered, or even indented, in the original, but presumably would have been had space essays on torture. XXVIII, no. By that heaven that bends above us — by that God we both adore, Tell this soul with sorrow laden, if within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore — Clasp a rare and radiant maiden whom the angels name Lenore.
Not the least obeisance made he — not a moment stopped or stayed he, But with mien of lord or lady, perched above my chamber door. But the Raven, sitting lonely on that placid bust, spoke only, etc.
Introductory Paragraphs for Argumentative Essays
, time: 6:10Works by Francis Bacon - Wikipedia
Sep 05, · With the indulgence, to the utmost extreme, of this self-torture, the narration, in what I have termed its first or obvious phase, has a natural termination, and so far there has been no overstepping of the limits of the real. Works - Essays - The Philosophy of Composition (Text) We even have an urgent delivery option for short essays, term papers, or research papers needed within 8 to 24 hours. We appreciate that you have chosen our cheap essay service, and will provide you with high-quality and low-cost custom essays, research papers, term papers, speeches, book reports, and other academic assignments for sale Essay on hockey in english words essays second series emerson, essay about banyan tree in hindi. Essay for deped k to 12 program essay cause and effect topics, essay on birds freedom in hindi! Black lives matter essay prompt, essay on torture and human rights essay on e-learning brainly
No comments:
Post a Comment