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Free Revisions. We are not done with your paper until You are completely satisfied with your paper. We set exemplary customer service. On-time Delivery. Forget about missing the deadline for submitting the paper. No late submissions with SpeedyPaper Essay writing services. As one might expect, however, Wordsworths gardens took as different a form from Popes as his poems did. By the time Wordsworth came to write and to garden, the concept of nature had shifted drastically from what it was in Popes time. It should not be surprising that Popes own garden was modeled after a description in Homer.
By contrast, Wordsworth, in the Preface to Lyrical Ballads, suggested that the natural world was itself the proper subject for poetry. Low and rustic life was generally chosen, Wordsworth claimed of his poems, because in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are under less restraint, and speak a plainer and more emphatic language.
Wordsworths gardens at Dove Cottage and Rydal Mount in the English Lake District reflect a similar reverence for the rustic, the more plain, and the local and familiar. By the late 18th Century, the taste and style in landscape gardening had experienced a shift similar to the one in poetic style and form.
The typical English gentleman who might develop a garden on his estate not only made the requisite Grand Tour to France and Italy but also added Picturesque Tours to the more remote and wild parts of Great Britainthe highlands of Scotland, the mountains of North Wales, and Wordsworths own Lake District. Less expensive and closer to home, these new tours were open to a wider audience as well and thus shaped the views of the growing middle class. Instead of the classical architecture of Rome or placid scenes of Venetian canals, the picturesque tourist focused on prospects of rugged mountains and valleys and the humble cottages of shepherds and farmers.
The landscape of reason had given way to the landscape of feeling. As a result, garden design shifted away from teaching a moral through encounters with emblematic temples, statues, and inscriptions to evoking emotions like wonder, melancholy, and contentment. The garden remained a meditative and contemplative place, but it performed that function through different means. Wordsworths gardens thus differed from Popes in two fundamental ways. First, they were designed in keeping with their Lake District location, not according to formal, classical models.
Whereas Pope surrounded himself with busts of classical poets to inspire him and hired professionals to dig a grotto and build a temple to aid his contemplation, Wordsworth built with his own hands long terraces and rustic seats out of the local stone. From these he could glimpse the lakes below his property and compose lines of poetry to the rhythm of his strides as he paced back and forth.
Wordsworths gardens also differed from Popes in their composition. William, first with his sister Dorothy and later with his wife Mary, chose to fill his gardens not with emblematic shrubs and trees but with flowering bulbs, perennials, ferns, mosses, and lichens that they gathered locally or acquired from friends and neighbors.
Wordsworths poems are full of references to these plants, perhaps the most famous being I Wandered Lonely as a Cloud. The poem refers to a field of daffodils by the shore of Ullswater, a lake a few miles away. But Wordsworth the gardener successfully brought that wider landscape into his domestic sphere at Rydal Mount, lining the terraces with daffodils and filling the meadow of Doras Field with them.
Whereas Pope looked to classical antiquity for his inspiration, importing foreign materials and structures for his poems and his gardens, Wordsworth used what was close at hand and familiar, celebrating what we might otherwise overlook. When Stanley Kunitz bought his house in Provincetown on Cape Cod in , his front yard was little more than a sand dune that sloped toward the street and the sea. From the moment he first saw the house, he says in his memoir The Wild Braid, he also began to see a garden in that barren space. Over the next two years, with the help of a local mason, Kunitz created a series of tiered flower beds and enriched the sandy soil with manure, peat moss, and seaweedmuch of which he gathered himself from the beach.
Just as Wordsworth was thinking of the indigenous plants of the Lake District when he created his gardens, Kunitz claims that he had the sea in mind as he planned his. The plants, he says, for example the lavender and roses, all respond positively to the sea air. The successive inclination of the garden gives it an illusion of motion, echoing the changing depths of the sea. It is imperative for any gardener to respect the land before alterations, modifications, or plans for the design of the garden are made.
If a garden doesnt fit into that landscape and reflect it in some way, its an invasion, an occupation Kunitz explains the design of his tiered garden in poetic terms as well, suggesting that each terrace contributes to the garden as a whole in the same way each stanza in a poem has a life of its own, and yet is part of a progressive whole as well. Kunitz goes on to point out that, often, when you finish reading a poem, the impulse is to revisit the beginning now that youve been all the way through it, and then each subsequent trip through the poem is different and colored by having seen the whole thing In this sense, Kunitzs small 20th-century garden is similar to the huge 18th-century landscape garden at Stowe with its separately themed spaces and with its multitude of monuments and temples.
For example, in the sheltered valley in the eastern half of the garden at Stowe, the section of the garden named the Elysian Fields, the garden visitor first encounters the Temple of Ancient Virtue, a circular building ringed with Ionic columns that houses full-length statues of Homer, Socrates, Lycurgus, and Epaminondasidentified by their accompanying inscriptions as the greatest poet, philosopher, lawgiver, and general of ancient Greece. Downhill and across a narrow body of water appropriately called the River Styx stands the Temple of British Worthiesa curving arcade housing the busts of sixteen figures from British history that Lord Cobham considered to be the greatest champions of British liberty.
Seen in conjunction, the two temples take on greater significance than each would alone. The garden visitor notices that it takes four times as many modern Britons to equal the ancient Greeks, who stand protected in their monument while the Britons, open to the weather, look literally upward toward them for inspiration. After a number of trips to the garden at different times of the day, the visitor may eventually note that the Temple of Ancient Virtue was purposely situated to be lit by the morning sun while the Temple of British Worthies receives the setting sun.
Just as a visitor comes to understand the garden by making connections between and among its parts, a reader discovers a poems complexity by seeing each separate poetic device in the context of the entire piece. Furthermore, both garden and poem become richer art forms the more often they are visited. As Kunitz explains, you dont see the garden as a whole from any point, but you begin to know it by making a tour around it. Then it becomes a garden in the mind, and you become the instrument that defines it, just as you have to create the wholeness of the poem in your mind. Though you learn the meaning of a poem, the sense of a poem, word by word, in the end what you have is a fusion Whether youre walking through the garden or reading a poem, Kunitz says, theres a sense of fulfillment.
Youve gone through a complete chain of experience, changing and communicating with each step and with each line so that you are linked with the phenomenon of time itself Though not a gardener in the same sense as the poets mentioned above, Wendell Berry as a farmer offers a perspective complementary to theirs. Though he did not develop his farmland to serve as a locus for contemplation or composition, Berry uses farming as a controlling metaphor in much of his poetry.
His poems are highly personal and active, making specific links among his farm, his habits of farming, his practice of writing, and his investment in his marriage and community. Berry thus brings into the mix the varied manifestations of husbandrythe practice of domestic economy and stewardship. Berry illustrates perfectly the concept of husbandry in his poem The Seeds, in which literal seeds expand to become words and ideas as the sower and poet become one: The seeds begin abstract as their species, remote as the name on the sack they are carried home in: Fayette Seed Company Corner of Vine and Rose.
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But the sower going forth to sow sets foot into time to come, the seeds falling on his own place. He has prepared a way for his life to come to him, if it will. Like a tree, he has given roots to the earth, and stands free. For Berry, farming and writing are more than parallel activities that reflect one another.
The land does more for Berry than to provide a space for contemplation and an endless supply of figures of speech. His practice of husbandry integrates his efforts and his relationships into a single way of relating to and behaving in the world. As a young poet in college and graduate school in the s I resonated with Berrys world view and counted him as a mentor.
Under his influence, a number of poems in my masters thesis use landscape and farming metaphors, though these grew out of conceptual exercise rather than personal experience. In fact, as a single man in my 20s trying to find my way in the world, I envied Berry his farmland, his marriage, his fatherhood and his sureness of vocation. I wanted soil of my own in which to put down roots, whether that soil meant a literal place or a more abstract personal grounding. My sense of identity and vocation has grown and solidified in the twenty years I have spent teaching at a small liberal arts college in Birmingham, Alabama.
It is only in the last five years, however, that I have purchased a home. Owning real property has allowed me to appreciate better what all of the poets above have to say about their relationship with the land, and I finally have the chance to shape my physical surroundings. Our house perches on a steep, wooded hillside that overlooks one of the dwindling number of steel mills and the Birmingham airport. Three winters ago we had a couple of dead trees taken down on the slope up behind the house, and as I walked through the woods for the first time I realized that the little clearing made by the missing trees offered a perfect view of the airport runway, where planes arrived and departed with the regularity of the hornets at their nest in the eaves above our garage door.
During the next spring, I laid out a path from the top of the small retaining wall up to the clearing, and every weekend I gathered two or three large flat stones from other parts of our property and dug them into the hillside to form a series of steps. Over spring break that year, I built a small deck in the clearing, and since that time Jonie and I have often had our morning coffee or a tall glass of iced tea there, watching the planes come and go. Though I never made the connection at the time, I had, like Wordsworth at Rydal Mount and Dove Cottage, built a seat with a view and used local stone for stairs.
In fact, I never thought of that deck as a garden structure, nor did I ever think of our rocky, wooded hillside as a garden, until this past year, after my father and older sister died within three months of each other. I realized over the summer that I wanted a physical object on that hillside to prompt my memories of family.
Appreciating the allusive power of urns in English gardens, I decided on a cast-concrete finial urn, which I placed on a cairn I constructed at the turn of the stone steps I had built leading up to the deck. I sited the urn thoughtfully, where it could be seen from several vantage points in the yard and from the window of the back door. Even at night, lit by the mercury-vapor security light, it catches the eye.
It struck me a few days later that I had, by inserting the urn into the landscape, lived out the events of Wallace Stevens Anecdote of the Jar, in which the speaker places a jar on a Tennessee hill only to find that the presence of the jar has changed the character of its surroundings. The wilderness rose up to it, Stevens says, and sprawled around, no longer wild. Prompted by Stevens poem, I realized that I had been living with a garden temple on the hillside behind my house for three yearsmy little deck was nothing less than a temple to flight, and during the months when I wasnt able to slake my wanderlust with trips to Great Britain or even to the Gulf coast the sight of arriving and departing planes brought back memories of past trips and encouraged me to dream of the next one.
Other objects in what I now call my garden have taken on deeper meaning because of their relationship with each other and their participation in the meaning of the whole space, what Kunitz calls the garden in the mind. Last summer I spent a week with my mother sorting through my fathers workshop and choosing which tools I wanted to bring back to Alabama with me. Along with these tools and his workbench, I brought back a wrought iron garden bench that had stood for years in front of my grandmothers house and upon which I had had my picture taken when I was three years old.
That bench now sits in the open space above our driveway, and it catches my eye every evening as I return home from work. It is more than a piece of garden furniture, though it serves that purpose admirably. It connects me to my childhood, in particular to the lake where my grandparents lived, where I learned to swim and canoe, and where my father taught me how to trim the jib correctly when we sailed.
Like the urn further up the hillside, it is an allusive object, but unlike the urn, which carries universal meaning, the garden bench refers to things that only I can recognize. This past fall, I discovered a boulder with a relatively flat top situated beneath a poplar tree at the highest corner of the property, and I noticed that a natural terrace walk runs down from it to the back of the deck. Having begun to think in gardening terms, I imagined the site as a future rustic seat, and using two long steel pry bars that I had inherited from my father, I leveled the boulder and resettled it in the earth.
I spent much of the fall killing the poison ivy along the terrace, and this winters project is to remove the fallen tree that blocks the terrace walk.
By spring I will have opened up another garden space, one that I have discovered also affords a direct view down to my grandmothers bench and beyond, to where the pink and white azaleas wait to bloom. I said at the outset that the poet and gardener are at least partly ego-driven and that they wish to control, if only for a while, the slippery and evasive elements of the world.
But even the artists ego recognizes that both poems and gardens are living things, and that, as Kunitz suggests, the artist is at best a co-creator. I certainly feel, most of the time, that my garden is introducing itself to me as I tend it, and that what I place there must somehow be approved by the genius loci. The land teaches me how to dress it, how to be a better husbandman. I resonate with Berrys Mad Farmer, who claims that the real products of any years work are the farmers mind and the cropland itself, and that the finest growth that farmland can produce is a careful farmer.
I will be teaching our poetry workshop this spring for the first time in more than a decade, and Im hoping that the long fallow years, the ones in which the refuse of each season was worked back into the soil, will have provided me with a fertile ground in which to try my hand at sowing words once again. For a less scholarly but no less fascinating account of Wordsworth as both poet and gardener, see Carol Buchanans Wordsworths Gardens Texas Tech University Press, For his series of poems that reveal the roots of his poetry in his sense of place, see Wendell Berrys Farming: A Hand Book Harcourt, For my own Web site on Stowe Landscape Gardens, please follow this link.
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I was also facing issues using the restroom, and after several tests doctors figured out that my kidneys were failing quickly, the result of almost four years of chemotherapy being pumped through my body. In a quick turn of events for me, my doctors were telling me I had only a couple of weeks to live, and that I was going to have to live with tubes manually flushing my kidneys. These tubes would turn out to be a nightmare because half the time they didn't work, and we have to manually flush saline through my kidneys to get them working again.
Purdue game, this is what happened: My tubes failed, and I had to be rushed to the hospital to undergo an emergency surgery to fix them. I am extremely grateful that even though I had to endure that grueling pain and surgery, and later in the week spent an entire day throwing up and running a fever due to the surgery, I was able to attend that football game with my family and experience all the love and support. I have gained a new respect for veterans of war who had to undergo operations on the battlefield without modern medicine.
Not only from Purdue fans, but from across the nation, including Ohio State fans. Though I am in hospice care and have to wake up every morning knowing that the day might be my last, I still have a choice to make: to make that day the best it can be. To make the most of whomever comes to visit, texts, tweets or calls me. After all, nobody knows the amount of days we have left. Tyler Trent's story has inspired millions and generated even more for cancer research.
Some could say we are all in hospice to a certain degree. Trent, who wrote for Purdue's school newspaper, The Exponent, wrote this column for The Indianapolis Star, where it first appeared. Alan Paton's work, Cry the Beloved Country has been hailed as one of the best illustrations of social breakdown and racial injustice in the South African Society.
Whereas literatures on the racial division in South Africa are framed around feelings of anger, tensions, bitterness and outrage, Paton has provided a balanced view of the surrounding aspects of the social injustices and promoted healing and understanding within this powerful piece of literature. This essay seeks to discuss social issue of racial inequality in the book and how the author uses characterization, settings, tone, theme and plot to tell the story of racial injustice in South Africa. Summary The blacks are forced to live in the tribal villages where there in scarcity or land and lack of social amenities while whites roam the cities like Johannesburg.
The dominant white society heavily depends on black labor for which they pay very little in return. The structure results to a breakdown in social structures that formed the bedrock of their lives. In the conversation between Msimangu and Kumalo, the former says "the white man has broken the tribe but it But it has not suited him to build something in the place of what is broken" Left homeless and struggling to survive on subsistence wages, the black society endures poor living conditions that generate a culture of crime.
The increasing levels of crime within the black society is also illustrated by Arthur Jarvis in stating that the old tribal system was a moral system. Our natives today produce criminals and prostitutes and drunkards not because it is their nature to do so, but because their simple system of order and tradition and the convention has been destroyed. It was destroyed by the impact of our own civilization. Our civilization has, therefore, an inescapable duty to set up another system of order and tradition and convention" Chapter Whereas a number of themes have been presented in this work, fear forms the best in the demonstration of social injustice in this novel.
The cry for justice of a nation that forms the title of this book denotes the theme of fear. The author presents the most powerful analysis of the theme of fear that characterizes a society deprived of justice. In fact, one theme that strongly supports the title of the book is the theme of fear in that it occurs so many times.
Msimangu says "It is fear that rules this land" Kumalo, on the other hand, is encompassed by fear on his way to Johannesburg to search for his son.
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Make a request who can help me write my discussion board post! His fear is surrounded by the living condition he may find his son in. On hearing that a white man has been killed, Kumalo says "here in my heart there is nothing but fear. A number of passages in the book depict fear as form of deprivation of justice. The white man is afraid to examine the injustices on the back people and the miners are afraid to go on strike because mining forms the bloodline of the economy. The whites are also terrified that the miners strike may spread to other industries.
The final passages of the novel also tell of fear when the narrator reveals intone that "South Africa will be emancipated "from the fear of bondage and the bondage of fear" However, the strongest illustration of fear is well put by the author in stating that cry, the beloved country, for the unborn child that is the inheritor of our fear. Let him not laugh too gladly when the water runs through his fingers, nor stand too silent when the setting sun makes red the veld with fire.
Let him not be too much moved when the birds of his land are singing, nor give too much of his heart to a mountain or a valley. Another important literal strategy that has been exploited by the author is the characterization. The black characters such as Msimangu and Kumalo are depicted as blacks denied justice.
Absalom Kumalo turns into crime because he is denied access to social justice and moves from place to place. Arthur Jarvis is also a character that depicts social injustice. He is the politically interested white man who argued against the social injustice and racial injustice. Arthur Jarvis is a well-known member of the white society who campaigned against social injustices against the native community. This makes his fellow whites to fail to understand him while natives embrace him.
The reason for this is that he provided the best shoulder the native community could lean on because of the existing social injustices. He spoke of his fellow whites as "tyrants, oppressors, and criminals" 46 The title of the work itself — Cry the beloved Country presents a picture of a nation in distress. In the whole novel, the tone of the writer is that in which the characters are always in anguish and missing important ingredients that make life complete. The two important characters that tell story from the black man's and white man's perspective are Reverend Stephen Kumalo and a white landowner, James Jarvis.
From the beginning, the writer concentrates on the white man's domination and racial injustices to the black man through a very sad and lonely distant tone. In the exploration of the life of Msimangu and Kumalo, the author presents two lonely souls who have great burdens to bear. Kumalo is overwhelmed and loses control while Msimangu thrives through the social injustice compounded by loneliness and racial segregation. The tone has literally been used in the entire novel to depict highest level of deprivation of social justice to the black native community.
The design of the plot presents two contrasting communities — one that is comfortable and satisfied with the status quo and the other that is struggling to find something they have been missing for long. A letter from a fellow minister about Gertrude's illness makes Reverend Stephen Kumalo to make to make a long journey to Johannesburg with the aim of aiding his sister and finding his lost son — Absalom.
In the ensuing debacle of the novel, Reverend Stephen Kumalo starts to see the racial and economic divisions that stand to split his beloved country. The structure and development of the plot unfolds and reveal the racial injustices that his native community undergoes. In process of trying to locate his son, newspapers announce that a crusader of human rights, Arthur Jarvis has been murdered by a gang of burglars.
The relationship between Stephen Kumalo and his white neighbor, James Jarvis is a depiction on how the ability to arise above racial differences and perception can generate a beneficial relationship. Brought together after the death of Arthur Jarvis, Reverend Stephen Kumalo and James Jarvis get to know each other and both of them attend the trial of Absalom. The young man and the old one make true friendship that influences the entrenched feeling on the two communities that everything can be forgiven.
Such a quality relationship enables the white man to become sympathetic to the living conditions of the native community and takes the initiative of donating food supplies such as milk. In addition to the above, the white man plans to support the farming activities of the native community by constructing a dam and moves ahead to hire an agricultural officer to demonstrate newer and highly productive farming techniques to the native community.
Such small initiatives after the death of Arthur touch the core foundations of the social fabric of the community as they are captured in the media. The relationship between the two men proves beneficial to both ends in that the white man finds a way in which he can seek close relationship with the white man and the black re-evaluates his ability to forgive the white man on the past social ills. On the very evening of Absalom's execution, Reverend Stephen Kumalo goes to the mountains to have a solemn solitude.
On the way, he accidentally meets Jarvis and the two men open up their hearts to the other and discusses the lost men in the society. Within this conversation, Arthur is mentioned as a young and innocent man with a lot to give to the community. The relationship between the two men has been depicted by the author as the hallmark of ability to forgive and achieve prosperity by two different communities with a history of hatred.