Develop Charisma and Become More Likable
Around 1590 to Thomas Browne, William Browne matured in England and attended school at Tavistock. He attended Exeter College at Oxford and entered Clifford's Inn, the Inner Temple, in 1611 and graduated with a masters degree in 1624. A scholar, Browne admired and imitated work by Edmund Spenser, Sir Philip Sidney, and Michael Drayton, particularly their pastoral poetry. Drayton reciprocated the admiration by prefixing some of Browne's verses in his well-known Polyolbion. Browne's own pastorals would later influence the poets John Milton and John Keats twentieth-century critic W. T. Arnold compared Keats and Browne as both being before all things an artist with the same intense pleasure in a fine line or a fine phrase for its own sake. Mainly known for Britannia's Pastoral, a narrative poem published in three parts in 1613, 1616, and 1852, Browne also collaborated with other poets to produce The Shepherd's Pipe (1614). Drayton added commendatory verses in honor of Britannia's...
Century BC an Eunomia-college asks Aphrodite to present them with xdpitsq and a life free from harm , it is evident that xdpnxq here means that they ask for a certain charisma (not charm as one would expect in erotic contexts) to please or to win over the citizens for the sake of the harmony of the whole people.161 Like Peitho, the Charites too embody a particular aspect of Aphrodite's province and, in the same way as Aphrodite is perceived as ndvSr oq, they also receive a political interpretation which is related to the well-being of the people. In this sense the Charites imply either the expected gratitude of the demos or the charisma (or both) which the magistrates need for the good reputation they want to enjoy among the people.
In most general terms, personification has been defined as an abstract or impersonal concept which is endowed with characteristics normally attributed to human or divine beings, such as physical life and movement, mental and emotional activities (feeling and thinking) and male or female physical appearance.9 It has been argued that, as soon as a figure has been represented in the visual arts, he or she can be recognized as a personification.10 But painters are perhaps more likely to have depicted personifications after poets had already described them as such.
Merrill's first commercial volume of poems, First Poems, appeared in 1951 and was praised for its craft and elegance, with some admiration of its high symbolist rhetoric, but the book produced little excitement. A later volume, The Country of a Thousand Years of Peace (1959), garnered more attention, but the work for which he is best known was still to come. Between the two books he published two plays, and the first of his two novels, The Seraglio -in which a central character is based upon his father.
Chosroe was filled with admiration at the hero's eloquence, and was astonished to perceive his prodigious form here, at last, thought he, was come the destined conqueror of Badhramoot. The king then gave orders that Monzar and Antar should be treated with all kindness and hospitality. But when it was proposed to pitch the tents, in order that they might repose till the next day, Antar declared that he would not rest until he had slain the Greek chief, and at once prepared for the combat. Badhramoot, having been apprised of the new champion who was come to oppose him, eagerly entered the lists, and Antar, as he advanced towards him, exclaimed
Scope Though a popular novel, we learn in lecture 53, Jane Eyre scandalized the keepers of Victorian morality with all its bad girl manners. In fact, the heroine of the novel disdains many of the conventions of Victorian times as well as our own she has no patience for romantic rhetoric and is a plain Jane in physical appearance. But as in Dickens, there is a dark psychology that lingers not very far beneath the surface.
Cott is a playwright and poet of contrasts a Caribbean poet who weaves together the patois of his native St. Lucia and the poetic styles, themes, and diction of classical Greece and the European tradition. Walcott's work contains references to and echoes of Homer, Virgil, Shakespeare, Dante, John Donne, William Blake, Charles Baudelaire, and T. S. ELIOT. By refusing to choose between Europe and the Caribbean, Walcott creates a truly brilliant hybrid voice and identity. Although he does not explicitly identify himself as an American poet, his work echoes the American poetic tradition of Walt Whitman, the first great American poet of the democratic voice, and Robert LOWELL, whose historical sweep and formalism can be heard in Walcott's work. Walcott has also proclaimed an admiration for the colloquial tradition in American poetry, best represented by the African-American tradition of Etheridge knight.
About the motives behind the commonly practised piety, which was suspected of being no more than 'showing off piety' (riya) directed towards the world. In order to counter this serious danger for the mystical soul the reverse attitude was advocated, namely a behaviour that elicits criticism rather than admiration. The mystic should not only conceal his acts of devotion from the eyes of the people, but should actually behave in such a manner that he becomes the object of their disapproval. The intention of this was to purge love of insincerity. However, the school of blame itself did not remain above criticism. Hujvlrl (d. ca. 1075), an early Persian writer on the theory of Sufism, who admitted that blame had 'a great effect in making love sincere', also pointed out that it might end up in the very position which it tried to avoid
Marvell inserts self-reflection in the reference to the Humber, as he was born close by and enjoyed his education in Hull, on the north bank. As for time the speaker muses that he might have loved her ten years before the flood, or the world's beginning, and she could love him after the conversion of the Jews, an action predicted to occur at the end of the world. His vegetable love, an allusion to an erect penis, could continue to outgrow empires and move with slow luxury Marvell's wit remains prominent in the adoption of the vegetable metaphor. He could take An hundred years to praise her eyes and look upon her forehead and Two hundred to adore each breast But thirty thousand to the rest. He adopts the approach of the Petrarchan tradition in praising the woman's body parts, reducing her to an object of admiration. Not only would he like to take this time, he tells her, Lady you deserve this state.
Jonson spends the first 15 lines of the elegy reviewing all the possible ways he might praise a writer who neither man nor Muse can praise too much (5). only in line 17 does he at last begin an attempt to do so with the resounding Soul of the age The applause Delight The wonder of our stage making clear his honest feelings of admiration. While writers such as Francis Beaumont had alluded to Shakespeare as one who achieved by the dim light of nature alone, noting by contrast that Jonson was guided by art, Jonson clearly does not agree. He bids My Shakespeare, rise, writing, I will not lodge thee by Chaucer or Spenser nor bid Beaumont lie A little further to make thee a
Katherine Philips gained a reputation for her same-sex love poetry, which circulated in manuscript form for the most part. Her open admiration of her women friends found approval among her own circle of acquaintances, both male and female, the members of whom she assigned classical names. Anne Owen, viscountess of Dungannon, was the Lucasia of To My Excellent Luca-sia, on Our Friendship, one of many poems dedicated to her. Philips incorporated metaphysical aspects in much of her work, including this piece. Four lines constitute each of six stanzas, arranged in an alternating rhyme pattern of abab, cdcd, and so on.
The poem circulated first in manuscript form, probably supporting Marvell's hopes for patronage from Cromwell. Marvell's political reversals of loyalty from Royalist to republican cause, a stand he reversed again during the later Restoration, caused some critics to term him an opportunist, others to see him merely as an individual sensitive to political climate. Marvell's conflict may have surfaced as the ode presents the history of the ensuing execution of Charles I, famously described with compassion and admiration Greatly admired for its style, Marvell's ode was regarded differently through the following centuries. The 19th century viewed Marvell as a patriot and omitted the ode's sympathetic characterization of Charles I, as the French Revolution spurred admiration for Cromwell's seeming support of the overthrow of the Crown. Lines 81-88 provide evidence supporting the view of Marvell as a man of republican, sympathies, as he employs the figurative language (figure of speech) of...
Eighty years later, Hazlitt was paraphrasing the German writer A. W. Schlegel on the same topic, identifying the classical with universal human associations, and the Gothic with the individual imagination A Grecian temple, for instance, is a classical object it is beautiful in itself, and excites immediate admiration. But the ruins of a Gothic castle have no beauty or symmetry to attract the eye and yet they excite a more powerful and Romantic interest from the ideas with which they are habitually associated. 6 And yet the two styles are often less opposites in the aesthetics of the period than different strands of antiquity twisted together. Percy Shelley's famous response to Peacock (his A Defence of Poetry, written in 1821) indicates as much. In a sense, Shelley confirms Peacock's criticisms by claiming that culture and hence artistic conception were accumulative and organic. Shelley called for an acknowledgment of and responsiveness to the literature of earlier cultures, arguing...
He first describes opposites in terms of physical appearance, with fair and brown meaning both blonde and brunette, and continues describing opposites in desires and appetites. Some of his phrases incorporate exaggerated and unpleasant comparisons to help make his point, such as And her who is dry cork, and never cries. He concludes his first stanza, again making clear he is an equal-opportunity lover by stating, I can love her, and her, and you, and you, I can love any, so she be not true. The final line is contrary to traditional ideas, in that this man specifically desires a false woman.
The third grouping of the New American Poets was the Black Mountain school, consisting of those poets identified with Black Mountain College and its charismatic teacher, rector, and poet-in-residence Charles Olson. The Black Mountain group consisted of poets who taught at the college (Olson and Creeley), poets who studied there in the early 1950s (Edward Dorn, Joel Oppenheimer, Jonathan Williams, and John Wieners), and poets such as Denise Levertov who were more loosely affiliated with the college or its literary magazines. Located in rural North Carolina, the college was conceived as a kind of utopian community where writers, painters, musicians, dancers, and other intellectuals could work in an open educational environment. The most important poetic influences on the work of the Black Mountain poets were Pound, Williams, and Olson, though the Objectivists were admitted as a secondary influence.
The Snng kaott wag made by Yin Keih-foo to show his admiration of king Senen. The kingdom was again reduced to order, and the king was able to establish 6. The Keemg han was made by Yin Keih-foo to show his admiration of king Seuen. Able now to raise up the decaying, and to put away disorder, the king gave 7. The Ching min was made by Yin Keih-foo to show his admiration of king Senen. 8. The Han yih was made by Yin Keih-foo to show his admiration of king Seuen. 9. The Chang woo was made by duke Muh of Shaou to show his admiration of king Seuen.
Cowper uses the slave's voice to ask some hard questions of his contemporaries, repeating the word me as the object of the slavers' heinous action. The voice next notes that although his physical appearance differs from that of his captors, he remains their equal in the ability to feel emotion
The eclogue features Flavia, who takes her position as the Saturday entry among five others also marked as days in the week to organize the group as a series. Flavia's complaint focuses on her loss of beauty, her lamentation echoing Montagu's own. As her heroine, had, Montagu had experienced the ravages of smallpox, suffering from a disfigured face. The value of beauty remains Montagu's target, as fashionable society believed that a lovely physical appearance made a woman a valued commodity. While money could purchase a husband, beauty allowed a woman greater choice and might ensure a greater degree of dedication of her mate. Montagu reinforces the idea that despite the ephemeral nature of beauty, as the critic Ann Messenger explains, it translates into power and perhaps wealth, and that fact remains evidence of a corrupt world. While it may prove aesthetically valuable, in a moral sense beauty lacks worth.
Was during most of his career a court poet dependent on the patronage of the local rulers of his native Sharvan. He also praised a great many other people who not only belonged to the secular elite but also to the Islamic clergy. Late in his life he retreated from the world to a solitary existence in the city of Tabriz. The signs of his inclination towards ascetism and Islamic piety are, however, pervasive in his works. Several of his great qasidas are purely religious poems which contain only praise of God, His Prophet or the Ka'ba in Mecca as the sacred symbol of Islam. On the other hand, there are no indications to be found of a special affiliation with a Sufi master or an attachment to any Sufi milieu. In this respect, Khaqani's position is not unlike that of Sana' and this is not the only similarity between the two poets. He made no secret of his admiration for the 'wise man' (hakim) of Ghazna and boasted that he had come to 'replace' him in the world.
And deliberately imitated their literary forms and subjects, their emphasis on social concerns, and their ideals of moderation, decorum, and urbanity (Abrams 1999 214). Such an account is seriously misleading. First, many of the classical poets translated, imitated, and echoed in the period were not Roman Augustans at all. Several of them, moreover, are conspicuously notable for their lack of moderation, decorum, and urbanity. Eighteenth-century English attitudes to Roman Augustan-ism, moreover, were themselves far more complex and various than Abrams implies, a Tacitean hostility to Augustus-the-tyrant coexisting with positive admiration for the Emperor's achievements as peacemaker and cultural patron (see Erskine-Hill 1983 Weinbrot 1978). Of all the Roman Augustans, Horace might be thought to be most accurately characterized by Abrams's description. But Horace was himself a controversial figure, being admired by some for his Socratic combination of familiar wit and philosophical...
At Timon's villa let us pass a day, Where all cry out, 'What sums are thrown away ' So proud, so grand, of that stupendous air, Soft and Agreeable come never there. Greatness, with Timon, dwells in such a draught As brings all Brobdignag before your thought. To compass this, his building is a town, His pond an ocean, his parterre a down Who must but laugh, the Master when he sees, A puny insect, shiv'ring at a breeze Lo, what huge heaps of littleness around The whole, a laboured quarry above ground. Two Cupids squirt before, a lake behind Improves the keenness of the northern wind. His gardens next your admiration call, On ev'ry side you look, behold the wall No pleasing intricacies intervene, No artful wildness to perplex the scene Grove nods at grove, each alley has a brother, And half the platform just reflects the other. The suff'ring eye inverted nature sees, Trees cut to statues, statues thick as trees, With here a fountain, never to be played, And there a summer-house, that...
(1640) Thomas Carew's Disdaine Returned falls firmly into the Cavalier poet tradition. Its light, lyrical feel is intended, as Carew and his contemporaries at the court of Charles II focused mainly on themes of love love thwarted, love accepted, love disdained, love engendered, love proposed, love rejected. Heightened emotion became their goal, and they achieved it through a musical cadence that allowed many of their poems to be set to music, as was true of much lyric verse. The poetry often featured romantic games played by an idealized female and the male voice that explained the give and take between a couple. Carew formats his three stanzas with varying length, the first two composed of six lines and the third of eight. The rhyme scheme also varies, with the first two stanzas adhering to an ababcc format and the third formatted ababccdd. The rhyme variance allows sound to support sense, as Carew's poem features a shift in feeling from admiration to disdain.
The lyrics of the 15th century and later contrast the restrained style of the earlier works as they express devotion rather than instruct. These lyrics do not encourage identification with Mary as mother and maid but express admiration for Mary as queen of heaven. Rather than featuring the Nativity and Crucifixion as earthly narrative foci, these later lyrics describe Mary's heavenly Assumption and coronation. There is an aesthetic self-consciousness among these later lyrics, which are marked by an ornate, aureate style (see aureation). This is particularly true of those with named authors, as it was believed that the more elaborate the lyric, the more lavish the praise it would send to Mary.
In the act of translating Homer, Pope mobilizes and expresses a far wider range of religious, ethical, and psychological sympathies than were available to him from within his own culture. He offers, for example, a remarkably uncensorious presentation of Homer's proud and irascible hero, Achilles, marking him out, surprisingly, for special admiration for the Air of Greatness he displays just before one of his most appallingly brutal acts the slaughter of the trembling suppliant Lycaon (xxi. 84n. see further Clarke 1981 136-40 Rosslyn 1980 Shankman 1983 3-51). Rendering Homer was, for Pope, both an exercise in scholarly exploration of an alien culture and an encounter with Nature the great unseen reality in which all human beings participate, but which is normally hidden from their view, unless revealed by great art. The full glory and horror of the human condition, Pope was convinced, had been revealed more completely and variously in the Homeric epics than in any other single literary...
For while the poet claims to abolish the distance between himself and the girl, he actually replaces it with another which is primarily aesthetic. . . . It is as if there are two voices at work in the poem one which sympathizes with the girl and expresses admiration for her 'natural' charms, and another which simply takes her as an occasion for a poem. This second, more devious voice will force upon the reader the unsentimental and cruelly ironic recognition that in fact she is nothing without the artifice of his poem to commemorate her. They may be poor, but the gap between them is not one which the poet wishes to cross. (Nicholls, 1995, p. 2)
The Seasons is arguably the most important long poem of the eighteenth century. Expansive in scale, ambitious in scope, it is the one poem written in the century following Paradise Lost that can lay genuine claim to epic status. During the first three decades of the eighteenth century admiration for Milton's great epic had become widespread. Addison's Spectator essays on Paradise Lost had rehabilitated the republican Milton for polite audiences, and critical writings by a sequence of Whig authors such as John Dennis and Sir Richard Blackmore had affirmed Milton as the greatest and most sublime of modern poets. Yet serious attempts at the blank verse epic were few and far between. Blackmore's efforts to appropriate Miltonic blank verse for his politicized historical epics such as Prince Arthur and Eliza were greeted with admiration by some but mockery by many. Pope and Arbuthnot's mock-critical treatise Peri Bathous Or the Art of Sinking in Poetry (1728) represented the culmination of...
Easily located include On a Virtuous Young Gentlewoman That Died Suddenly and On His Majesty's Recovery From the Small-Pox, 1633. He dedicated verse to those returning from journeys, to wedding couples, to contemporary poets, to various court officials, and to Lucina, his favorite subject. Jonson praised Cartwright as one who wrote like a man, reflecting admiration for Cartwright's education, which allowed him a scholarly approach and use of a great number of classical conceits. He was capable of eroticism, as in these lines
The first of her four books of verse, North & South, appeared in 1946, and contains some of her best-known poems, including The Man-Moth and The Fish. The former displays the quality of imaginative transformation that characterizes many of her poems, a transformation - often of mundane objects - that never completely leaves behind the careful recording of detail and the associated wonder that is the poem's foundation. The Man-Moth is a creature resembling a compulsive artist, driven from underground to rise up to the light to inevitably fail and try again. The poem balances description of the everyday, the subway and its electric third rail, with fable. The man-moth of the title is viewed from multiple perspectives and degrees of scale, and is variously distanced or identified with. The Fish shows something of Bishop's response to the work of Moore 75 lines of absorbed, intricate, restrained observation, before the last line's And I let the fish go confirms that the detailed...
Elizabeth Thomas addressed a poem to Chudleigh, having expressed her admiration of The Ladies Defence, and they continued writing letters for years. Chudleigh once explained to Thomas that she was troubl'd when women became the Jest of every vain Pretender to Wit who proved invidious Detracters that believed women could not be obedient Wives, without being Slaves, nor pay their Husbands that Respect they owe them, without sacrificing their Reason to their Humor. She wrote in her preface to Poems on Several Occasions (1703), which included the cautionary poem To the Ladies, that the poetry resulted from her solitary lifestyle. To the Ladies proved so popular it can be found handwritten onto flyleafs of contemporary books, including the Shakespeare First Folio owned by one Elizabeth Brockett.
In his first collection of poems, Prufrock and Other Observations (1917), Eliot demonstrates the admiration he held for James who, in Eliot's opinion, was able to control his work yet remain impersonal. To accomplish this invisible control as James did, Eliot turned toward
Granted the insistence with which Ginsberg has acknowledged his debt to Blake and Whitman, Kerouac his admiration for Melville, or Corso his debt to Shelley, it is alarming the unanimity with which champions and detractors of the Beats have alike sought to suppress this pervasive Romanticism, the former in the interests of enhancing the movement's claims to originality, the latter in a desire to dismiss it as an unparalleled plunge into barbarism. However, nothing could be further from the truth than to present the Beats as a naive revival of an indigenous Transcendentalism, unmediated by post-Romantic developments in art and thought. It is hardly possible to read a classic Beat text without being aware of the way in which its Romanticism is contained, qualified and interrogated by the modernism of Stein, Pound, Eliot, Williams, Faulkner, Hart Crane, Thomas Wolfe and Henry Miller the surrealism of Apollinaire, Pr vert, Eluard, Reverdy and Lorca and the Existentialism of Hemingway, C...
The most charismatic and influential member of the New York school -up to the time of his accidental death in 1966 - was Frank O'Hara. After serving in the navy during World War II, O'Hara attended Harvard, where he met both Ashbery and Koch. The late 1940s was a golden age of poetry at Harvard (among the other poets studying there at the time were Robert Bly, Robert Creeley, Donald Hall, and Adrienne Rich) and its heightened
Coleridge and Shelley, who had considerable Greek, continued to read English meters within a grid of classical metrics. We know, for example, that Coleridge described the line I heard a voice pealing loud triumph today as amphibrach tetrameter catalectic - - - - - - - (that is, as four amphibrachs, the final one of which is catalectic, or incomplete).33 The reception of the neoclassical poets themselves was not simply a matter of reversing their precepts. Bysshe and other strict syllabists had criticized Dryden, and Keats relied on him for Lamia. Wordsworth expressed his admiration for Pope's Windsor Forest as nature poetry Byron praised the softness, passion and beauty of Eloisa to Abelard and the imagery of the Epistle to Dr. Arbuthnot.34 The Romantics were able to read their own aesthetics back into neoclassical works.
The Sun is a god of regular habits, which he does not vary in response to human intercession. He can inspire joy and admiration, but no real anxiety. It is the moody gods, the ones liable to tantrums, the ones who rollick about and do not know their own strength, who are greater promoters of religious activity. When Helios in the Odyssey (12. 376-88) is outraged by the violation of his cattle, he can threaten to go and operate in the lower instead of the upper world, but he cannot send a storm upon the miscreants he has to persuade Zeus to do that for him.
The Power Of Charisma
You knowthere's something about you I like. I can't put my finger on it and it's not just the fact that you will download this ebook but there's something about you that makes you attractive.