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The Lasting Happiness And Success Formula Summary


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Fixed to no spot is Happiness sincere 'Tis nowhere to be found, or ev'ry where 'Tis never to be bought, but always free. Essay on Man, Epistle IV. A. POPE. We're charmed with distant views of happiness, But near approaches make the prospect less. Against Enjoyment. T. YALDEN. True happiness ne'er entered at an eye True happiness resides in things unseen. Night Thoughts, Night VIII. DR. E. YOUNG.

Hie Happy Life

In a poem addressed to a friend with the same name as his own, Martial details the ingredients of a happy life. The list agrees with what one might draw up today, except that it contains nothing that we might interpret as job satisfaction. The puritan work ethic was more than a thousand years in the future, and a Roman saw no virtue in having to earn a living. Certain careers (advocate, politician, soldier, farmer) were held in esteem, but to work with one's hands was considered degrading, and merchants and traders were despised. The ideal was to lead a life of otium (leisure), such as Martial describes here.

Endymion A Poetic Romance Excerpt

Therefore, 'tis with full happiness that I Will trace the story of Endymion. The very music of the name has gone Into my being, and each pleasant scene Is growing fresh before me as the green Of our own valleys so I will begin Now while I cannot hear the city's din Now while the early budders are just new, And run in mazes of the youngest hue About old forests while the willow trails Its delicate amber and the dairy pails Bring home increase of milk. And, as the year Grows lush in juicy stalks, I'll smoothly steer My little boat, for many quiet hours, With streams that deepen freshly into bowers. Many and many a verse I hope to write,

Cruz Victor Hernndez 109

(purchasing a goddamn big car ), his friend stresses the importance of self-preservation. The sense of fragmentation that Creeley explores is an important bond with his audience, even as he tries to share a sense of small bits of coherence. In an untitled poem (1969) in Pieces, pieces of cake are crumbling in the hand trying to hold them together as an offering to the seated guests. Tender regard for human struggles for self-actualization is often present among the 24 discrete quatrains of Eight Plus (1988) is the injunction Wish happiness for most of us, whoever we are, wherever. Another aspect of the common place is embodied in an arresting maxim in Credo (1998) I believe in belief. For Creeley, as for many others, life's tremendous uncertainties, a void of pattern, and the certainty of death are so powerful that an absence of belief would lead to overwhelming despair.

Satire against Mankind

Pride drew him in, as cheats their bubbles catch, And made him venture to be made a wretch. His wisdom did his happiness destroy, Aiming to know that world he should enjoy. And wit was his vain, frivolous pretence Of pleasing others at his own expense, For wits are treated just like common whores First they're enjoyed, and then kicked out of doors. The pleasure past, a threatening doubt remains That frights th' enjoyer with succeeding pains. Women and men of wit are dangerous tools, And ever fatal to admiring fools. Pleasure allures, and when the fops escape, 'Tis not that they're beloved, but fortunate, And therefore what they fear at heart, they hate. But thoughts are given for action's government Where action ceases, thought's impertinent. Our sphere of action is life's happiness,

By Mauid Eddin Alhassan Abu Ismael Altograi

The author opens the poem with a panegyric upon his own integrity, and the magnanimity he has shown under various misfortunes these he is proceeding to recount, when he seems suddenly struck with the sight of a friend lying asleep at some distance from him. The poet adjures this friend to arise, and accompany him in an enterprise, the object of which was to visit a lady, whose habitation was in the neighbourhood. Fired with the idea of his mistress, he breaks forth into a description of the happiness of those who are admitted to her (1 of 8)09 01 2008 16 01 46

From A Satire Addressed to a Friend

If you're so out of love with happiness, To quit a college life and learned ease, Convince me first, and some good reasons give, What methods and designs you'll take to live For such resolves are needful in the case, Before you tread the world's mysterious maze. Without the premises, in vain you'll try To live by systems of philosophy Your Aristotle, Cartes, and Le Grand, And Euclid too, in little stead will stand. How many men of choice, and noted parts,

The Little Preface

When that in the Hwcmg-hioang chay hwa ceased, there was an end to such loyalty and truth. When that in the Chang-te ceased, there were no more such brothers. When that in the Fah vmh ceased, there were no more such friends. When that in the Feen paou ceased, the happiness and dignity there auspiced disappeared. When that in the Ts'ae we ceased, there was an end of such corrective and punitive expeditions. When that in the Oh'uh keu ceased, such Service and energy disappeared. When that in the Te too ceased, such numerous hosts passed away. When that in the Yu le ceased, good laws and order flailed. When that in the Nan hoe ceased, there was an end of such filial piety and fraternal duty. When that in the Pih hwa ceased, purity and modesty disappeared. When that in the Hwa shoo ceased, there was no more such accumulation of stores. When that in the Yew khng ceased, the active and passive powers of nature failed to act in their proper way. When that in the Nan...

To one who has been long in city pent

To one who has been long in city pent, 'Tis very sweet to look into the fair And open face of heaven,--to breathe a prayer Full in the smile of the blue firmament. Who is more happy, when, with heart's content, Fatigued he sinks into some pleasant lair Of wavy grass, and reads a debonair And gentle tale of love and languishment Returning home at evening, with an ear

Boston Houghton Mifflin 1971

In the much-admired poem VII, Little Sleep's Head Sprouting Hair in the Moonlight, the poet comforts baby Maud after she screams, waking from a nightmare. Against this pre-vision of mortality by the child the poet offers love and the wish that death were not the fate of every generation. At the center of the poem are three scenes, one a disarming exclamation by the baby in a restaurant, the second an imagination by the poet of Maud as a young woman with a future love, in which he hopes that his daughter will fully enjoy the moment and not allow the recognition that one day all this will only be memory to spoil her happiness. The third incident is a memory of the last moments of the poet's father, the dying light in his eyes paralleled by the present moonlight reflected in Maud's eyes.

Sun Rising The John Donne 1630

The braggadocio reaches crescendo in the third stanza, as he claims that his love is all states, and all princes I, Nothing else is. Not only do the two lovers represent all that is worthy, nothing else even exists outside their own universe. Princes simply masquerade as the lovers, and compared to them All honour's mimic all wealth alchemy. Finally, the speaker continues his apostrophe, Thou sun art half as happy as we. Donne uses alliteration to his advantage, emphasizing half and happy. He could have dismissed the sun as enjoying no happiness instead he suggests that even the sun's happiness, in his position as supreme ruler of all hemispheres, is only half that of the lovers. Donne's next line emphasizes the ability of two people to represent their own world

Language Poetry and the postmodern avantgarde

A urinating doll, half-buried in sand. She is lying on her stomach with one eye closed, driving a toy truck along the road she has cleared with her fingers. I mean untroubled by the distortions. That was the fashion when she was a young woman and famed for her beauty, surrounded by beaux. Once it was circular and that shape can still be seen from the air. Protected by the dog. Protected by foghorns, frog honks, cricket circles on the brown hills. It was a message of happiness by which we were called into the room, as if to receive a birthday present given early, because it was too large to hide, or alive, a pony perhaps, his mane trimmed with colored ribbons.

Shakespeares sonnets Sonnet 19 Devouring Time blunt thou the lions paws William

The poem's unidentified speaker begins Sonnet 19 by noting in the first quatrain that Devouring Time (l. 1) may blunt the lion's claws, make the earth devour her children, cause the fierce tiger's sharp teeth to fall out of its jaws, and allow the phoenix to burn up instead of being born again, as tradition would have happen to the creature. All of these images point to the ferocity of time in this world. In addition, in the first three lines of the second quatrain, the speaker observes that swift-footed Time (l. 6) may manage to bring happiness and sadness to the whole world according to its whims as it swiftly passes. The final line of the second quatrain joins the third quatrain to complete the poem's primary concern, as the speaker forbids a personified Time to commit what the speaker considers to be the most heinous crime (l. 8) of all to carve a record of Time's passage into the beloved's brow, or to draw any lines at all upon the loved one's brow with Time's magical pen...

Amoretti Sonnet 22 This holy season fit to fast and pray Edmund Spenser 1595 One of

After setting up this ideal picture of the beloved, the turn of the sestet takes the speaker down a non-Christian path with a higher form of sacrifice. He announces a plan to build for her, the source of his happiness, an altar that will appease (l. 9) her anger, with the implication that the only reason for her ire (l. 10) is his love for her on that altar his heart will be sacrificed, burnt by the flames of pure and chaste desire (l. 12). If the beloved, who is now referred to as goddess (l. 13), accepts this offering, it will be one of her most precious mementos. The imagery found here in the sestet is more traditionally associated with the Petrarchan convention from which Spenser is writing. The archaic spelling he uses in the sequence allows a play on words of heart with hart in line 11, which continues with dearest and deerest in line 14 to expand the possible interpretations of the sestet from a figurative to a literal sacrifice.

Stopping By Woods On A Snowy Evening 479

Her husband Walter's suicide in 1959 while the family was in England is a recurring lens through which Stone examines love, loss, and mortality. Every day I dig you up, she tells Walter in Habit (1972), you are my poem. Time does not diminish the crackling immediacy of remembered emotions our bed danced on the floor as if we had created a miracle ( Happiness 1987 ). There is a freshness to her work, as if the poet sees the world clearly in all of its loss and sadness, as if she knows well what humanity is capable of, yet she irrepressibly holds open the hope we will chose to do better I am a stranger crossing the bone bridge to meet the other, she tells us in For Eight Women (1995), and our skulls shine like calligraphy in a longed-for language. Note the clarity of her unexpected images and the connective tissue of assonance. An abiding interest in the sciences and an utter lack of sentimentality also distinguish her work oh world, oh galaxy, she sings in End of Summer . . . 1969, My...

Barclay Alexander ca 14751552

Tradition in his Shepheardes Calender In the prologue to Certayne Eglogues, Barclay notes that his poetry will consider topics such as courtly misery, the exploits of Venus, true love, false love, avarice and its effects, virtue praised, and war deplored, in addition to other matters. The emphasis on virtue is very important in Barclay's verse he is an ardent moralist. In his fourth eclogue, the dialogue between Codrus (a rich person, relatively speaking) and Minalcas (a poor poet) considers that simply attaching one's self to a wealthy lord will bring happiness. In fact, Minalcas rejects the advice of his friend because wealthy patrons are less interested in poetry, more attuned to sensual pleasures, and more rooted in vice. Minaclas even rejects his wealthy friend Codrus on account of his own self-interest.

Ultroque Ferebant Obvia English

The idea that there was a time when humanity lived happily in a state of primitive simplicity goes back to the early Greek poet Hesiod and was taken up by Roman poets. The Golden Age, the aurea aetas, was the period when Jupiter's father and predecessor, Saturn, was king of the gods and presided over a world where the ready availability of simple food made work unnecessary animals were not exploited no inventions, even of the simplest kind, such as the plow, existed justice reigned supreme and all humanity lived in perfect happiness.

Deep Image Robert Bly and James Wright

The mood ofthe speaker also evolves in the course ofthe poem. The first stanza establishes a contented mood as the speaker is seen driving in his car this mood is reflected in the pastoral imagery and the explicit declaration of happiness in the penultimate line. In the second stanza, however, the mood becomes more ominous, as the speaker focuses on darkness and isolation. It is no longer dusk but night. Correspondingly, the diction is more fraught with tension the word plunges suggests a possibly violent act, and penetrates can suggest negative connotations. There is also an absence of visual images in the stanza, and the only aural image is the faint sound of the crickets outside the car.

The New Criticism and postwar poetry

Despite all the ways in which the poem is successful, however, we cannot consider it an important poem. It manages a nice conceit, but it also avoids any engagement with larger ideas or issues. No specificity is given about the relationship between the speaker and the woman he hopes will smile at him no real emotion is expressed or portrayed, despite the attempt to capture the sense of a potentially emotional moment and no larger social or philosophical statement is made. The use of the urban imagery of cars, highways, bridges, and oilsmoke is made to serve no purpose other than as an analogy for a moment of personal happiness as a result, such imagery comes to seem almost gratuitous.

Since She Whome I Loved Hath Paid Her Last Debt John Donne 1633

Gardner notes a traditional format for Donne exhibited in the opening lines Since she whom I loved, hath paid her last debt To Nature, and to hers, and my good is dead, allowing speech stress and metrical stress to pull against each other. In the second line his reference to my good as dead either provokes the thought that death precludes the possibility of acting good any longer or may suggest that her death has yielded good to both her and Donne, through her entrance into heaven and the happiness God's presence will afford. While he misses her, his understanding that she has been received blameless by God

Annus Mirabilis The Year Of Wonders 1666 John Dryden 1667 With

Critics have judged Dryden's critical material almost as valuable as the verses that follow, as he continues explaining his approach by comparing it to that of the classical writers Lucan, Virgil, and Ovid. He notes that description must be dress'd in such colours of speech that it sets before your eyes the absent object as perfectly and more delightfully than nature. He next describes what he calls the three elements representing the happiness of the poet's imagination. The first happiness is invention, or finding of the thought, while the second is fancy, or the variation, driving or moulding of that thought, as the judgment represents it proper to the subject. In his opinion, Ovid most famously accomplishes those happinesses. Virgil best accomplishes the third happiness, which is elocution, or the art of clothing and adorning that thought so found and varied, in apt, significant, and sounding words. All three remain crucial to proper execution, as quickness in the imagination...

Hymn To God the Father A john

The third stanza departs from the previous pattern of questioning, beginning with a statement, I have a sin of fear. As the speaker describes his sin, Donne's use of metaphor proves particularly effective that when I have spun My last thread, I shall perish on the shore. He adopts imagery of spinning that could add meaning to the poem on several levels. First, Donne comments on his own activity of writing literature, as spinning was traditionally associated with storytelling, that is, spinning a yarn. Second, and of interest to feminist critics, the act of spinning calls to mind the mythological figure of Penelope. As Odysseus's wife, she had to weave a funeral shroud each day, and then pulled it apart at night to keep her suitors at bay as her wayward husband made his way homeward. She constantly destroyed her daily work, in the end creating nothing, as a sinner might daily commit destructive acts. Finally, Donne also suggests a spider weaving a web, a structure that never lasts long...

Robinson Mary 17581800 Mary Darby

Robinson memorized poetry by Alexander Pope and enjoyed ballads by John Gay. Her younger years proved happy ones in elegant surroundings supported by her American-born father. However, she would later move to London with her brother and mother when her parents separated. There she attended school taught by Meribah Lorrington, an extraordinary woman, with whom Robinson credited All that I ever learned. The family began to experience financial difficulties as her father did not supply the support he had promised. Her mother began a small school, but her father demanded that she end that occupation. He had taken a mistress, about whom Robinson writes in her memoir. At age 15, she began to take acting lessons from David Garrick and described that pursuit the drama, the delightful drama, seemed the very criterion of all human happiness.

Indifferent The John Donne 1633

John Donne's love poetry has been categorized by some critics, including Theodore Redpath, according to its positive or negative tone. The Indifferent falls into the latter grouping. Donne adopts the prevalent attitude that women almost always proved inconstant. Men did as well, but they did not suffer the same social stigma as did women who engaged in multiple sexual relationships. Religious dogma blamed women's treacherous nature for the ills of the human race, based on Eve's sacrificing the future happiness of man by indulging her appetites in the Garden of Eden. In addition, civil laws of inheritance made clear the importance of monogamy of women, who produced sons who would inherent family property.

Edna St Vincent Millay and the feminist lyric

Millay provides a description of a relationship which - far from romanticized - is shown in its most destructive aspect. Though the woman is now an ungrafted tree - a subject free from her husband and from her former self-she has developed various neuroses that prevent her from living a happy life.

You Daft Dimbo Figurative Language

Died at age 24, it proved vital to development of the poetry that Robert Burns would make famous. It also provided the humanist historical, political, and literary continuity promoting Scottish traditions, important to poets such as Fergusson for the stability and self-knowledge those traditions provided. Emphasis of tradition reminded readers of their past, as well as the future to which they should aspire. The Whig philosophy promoted materialism as the path to happiness and contentment, contrasting greatly with the Scots humanist traditional philosophy. It encouraged man to look within, assess his limitations, then develop a new sense of self-awareness, rejecting the idea of defining one's self on the basis of one's possessions.

O Solitude If I Must With Thee Dwell

For ever piping songs for ever new More happy love more happy, happy love For ever warm and still to be enjoy'd, For ever panting, and for ever young All breathing human passion far above, But being too happy in thy happiness, That thou, light-winged Dryad of the trees, In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease.

From Absalom and Achitophel i

So easy still it proves in factious times, With public zeal to cancel private crimes How safe is treason, and how sacred ill, Where none can sin against the people's will Where crowds can wink, and so offence be known, Since in another's guilt they find their own. Yet fame deserved no enemy can grudge The statesman we abhor, but praise the judge. In Israel's courts ne'er sat an Abbethdin With more discerning eyes, or hands more clean Unbribed, unsought, the wretched to redress Swift of dispatch, and easy of access. Oh, had he been content to serve the crown, With virtues only proper to the gown Or had the rankness of the soil been freed From cockle, that oppressed the noble seed David for him his tuneful harp had strung, And Heav'n had wanted one immortal song. But wild Ambition loves to slide, not stand And Fortune's ice prefers to Virtue's land. Achitophel, grown weary to possess A lawful fame, and lazy happiness, Disdained the golden fruit to gather free, And lent the crowds his...

Harlem Gallery Melvin Tolson

The first five parts of Harlem Gallery, Alpha through Epsilon, set the tone for the themes of exploration into the everyday life of black America and the role of the black artist in white American society. The next four parts, Zeta through Iota, reveal philosophical commentaries on the subjects of art, the gap between the races, and what is considered happiness for black Americans, as told by Curator and Dr. Nkomo. Following is Kappa through Xi, focusing on the colorful character Hideho Heights. The next two parts, Omicron and Pi, are reflections about art, historical figures, and biblical passages. The last four parts, Phi through Omega, reflect on art and the problem of the black artist, Joy Flasch reports, noting that this portion of the poem recalls the enslavement and suffering of Africans brought to America and issues a warning to the white man to beware of the power of the black minority in this country (126). Harlem Gallery concludes with the Curator meditating on the state of...

Michael Drayton 15631631

Poet Virgil and others, are populated by shepherds and nymphs, and usually portray a simple, happy life of singing and dancing, rather than a life of farm labor. The Ninth Eclogue describes a Shepherd's Board, or feast, and contains several songs by shepherds, or swains, in praise of their lovers.

Endymion Book I

Therefore, 'tis with full happiness that I Will trace the story of Endymion. The very music of the name has gone Into my being, and each pleasant scene Is growing fresh before me as the green Of our own vallies so I will begin Of happiness, to when upon the moors, Peona ever have I long'd to slake My thirst for the world's praises nothing base, No merely slumberous phantasm, could unlace The stubborn canvas for my voyage prepar'd--Though now 'tis tatter'd leaving my bark bar'd And sullenly drifting yet my higher hope Is of too wide, too rainbow-large a scope, To fret at myriads of earthly wrecks. Wherein lies happiness In that which becks Our ready minds to fellowship divine, A fellowship with essence till we shine, Full alchemiz'd, and free of space. Behold The clear religion of heaven Fold A rose leaf round thy finger's taperness, And soothe thy lips hist, when the airy stress Of music's kiss impregnates the free winds, And with a sympathetic touch unbinds Eolian magic from their...


In the first part of cur fragment, Getas (servant to Thrasonides) is probably soliloquizing. He and his master suspect Demeas of designs upon Crateia, little knowing that he is her father. Crateia's nurse enters, and recognizes Demeas. Father and daughter note recognize each other but their happiness is rudely disturbed by the entry of jealous Thrasonides. The con-clusl n not known but cart easily be inferred Thrasonides released Crateia, who rewarded his persevering and unselfish devotion with her consent to marriage. The play was very similar in plot and in chara'-ters to the same author's Perikeiromene.


Art thou Urthona My friend my old companion, With whom I livd in happiness before that deadly night When Urizen gave the horses of Light into the hands of Luvah Thou knowest not what Tharmas knows. O I could tell thee tales That would enrage thee as it has Enraged me even From Death in wrath & fury. But now come bear back Thy loved Enitharmon. For thou hast her here before thine Eyes


In discourse more sweet, (For eloquence the soul song charms the sense,) Others apart sat on a hill retired, In thoughts more elevate, and reasoned high Of providence, foreknowledge, will, and fate, Fixed fate, free will, foreknowledge absolute And found no end, in wand'ring mazes lost. Of good and evil much they argued then, Of happiness and final misery, Passion and apathy, and glory and shame Vain wisdom all, and false philosophy. Paradise Lost, Bk. II. MILTON.


The sorrower of Eternity in love with tears submiss I rear My Eyes to thy Pavilions hear my prayer for Luvahs sake I see the murderer of my Luvah clothd in robes of blood He who assured my Luvahs throne in times of Everlasting Where hast thou hid him whom I love in what remote Abyss Resides that God of my delight O might my eyes behold My Luvah then could I deliver all the sons of God From Bondage of these terrors & with influences sweet t885 As once in those eternal fields in brotherhood & Love United we should live in bliss as those who sinned not The Eternal Man is seald by thee never to be deliverd We are all servants to thy will O King of Light relent Thy furious power be our father & our loved King But if my Luvah is no more If thou hast smitten him t886 And laid him in the Sepulcher Or if thou wilt revenge t887 His murder on another Silent I bow with dread But happiness can never come to thee O King nor me For he was source of every joy that this mysterious tree Unfolds in...


Fear not O poor forsaken one O land of briars & thorns Where once the Olive flourishd & the Cedar spread his wings Once I waild desolate like thee my fallow fields in fear Cried to the Churchyards & the Earthworm came in dismal state I found him in my bosom & I said the time of Love Appears upon the rocks & hills in silent shades but soon A voice came in the night a midnight cry upon the mountains Awake the bridegroom cometh I awoke to sleep no more But an Eternal Consummation is dark Enion The watry Grave. O thou Corn field O thou Vegetater happy More happy is the dark consumer hope drowns all my torment For I am now surrounded by a shadowy vortex drawing The Spectre quite away from Enion that I die a death Of bitter hope altho I consume in these raging waters The furrowd field replies to the grave I hear her reply to me Behold the time approaches fast that thou shalt be as a thing Forgotten when one speaks of thee he will not be believd When the man gently fades away in his...

From Virgidemiae

His land mortgaged, he sea-beat in the way Wishes for home a thousand sithes a day And now he deems his home-bred fare as lief As his parched biscuit, or his barrelled beef. 'Mongst all these stirs of discontented strife, O let me lead an academic life, To know much, and to think we nothing know Nothing to have, yet think we have enough, In skill to want, and wanting seek for more, In weal nor want, nor wish for greater store Envy, ye monarchs with your proud excess, At our low sail, and our high happiness.


A coquette, generally speaking, can only be a woman with a dry, evil heart and an empty head. And if a woman can become a coquette, she will remain a coquette to the end of her life. . . . Now judge whether the persona that Countess Rostopchina favors in her poetry belongs to the usual woman of society. . . . She has found all her happiness only at balls . . . in the course of the last twelve years. (Nikolai Chernyshevsky Stikhotvoreniia grafini Rostopchinoi 1856 , 6-7) By nature she was created chiefly for happy connubial love and a peaceful family life, but fate refused her just this happiness. (Sergei Sushkov, Biograficheskii ocherk 1890 , 1 xlv)

The Weepers

They wept in great, undignified, blubbering fits, and what could we do to console them How would we dry them out or pick them up who went to pieces, broke down, or burst out, invoking, in their sniffling, our own names, our bleak deeds, our most embarrassing dreams Did they prefer things streaked and blurred, the colors of houses merging with the colors of trees, the lawns melting into the streets, the dun sky running and smearing the station where the vague buses were always going away Pity was too common for them, and sympathy. Neither were they truly sad. They wept best when there was no legitimate reason for tears, no recent widow walking her mongoloid son, no deaf student sodomized behind the gym, no mendicant with his lyrics of a suicidal girl. They did not believe in despots or atomic bombs. They wept on celebration days, when picnics were spread by pretty lakes or bronze plaques were engraved with their names. They wept sagas and epics. It was their talent to weep. Their...

Irony and Metaphor

'convicted of theft', 'convicted of riotous assembly' are acceptable English expressions, but not 'convicted of sickness', 'convicted of happiness', etc. This is, then, the kind of violation of selection restrictions which most commonly produces metaphor. From the clash of convicted of and sickness, etc., there arises the equation crime misfortune, analogous to the equation of tenor and vehicle in metaphor, except that here it is the contrast between the two that is brought to our attention, rather than their likeness.


Be barred that happiness, might we but hear The folded flocks, penned in their wattled cotes, Or sound of pastoral reed with oaten stops, Or whistle from the lodge, or village cock Count the night-watches to his feathery dames, 'T would be some solace yet, some little cheering, In this close dungeon of innumerous boughs. But, oh, that hapless virgin, our lost sister Where may she wander now, whither betake her From the chill dew, amongst rude burs and thistles Perhaps some cold bank is her bolster now, Or 'gainst the rugged bark of some broad elm Leans her unpillowed head, fraught with sad fears. What if in wild amazement and affright, Or, while we speak, within the direful grasp Of savage hunger, or of savage heat LADY. I had not thought to have unlocked my lips In this unhallowed air, but that this juggler Would think to charm my judgment, as mine eyes, Obtruding false rules pranked in reason's garb. I hate when vice can bolt her arguments And virtue has no tongue to check her...

Religion at Rome

Jupiter (Iuppiter Iovis m.) The king of the gods and men (hominum deumque rex). The temple of Iuppiter Optimus Maximus (Jupiter best and greatest) on the Capitol was the most sacred place in Rome. Juno (Iuno Iunonis f.) The wife and sister ofjupiter, whose unfaithfulness was a cause of constant friction between the two. She was the goddess of marriage and childbirth. Neptune (Neptunus -1 m.) A brother ofjupiter and god of the sea. Pluto (Pluto Plutonis m., also called Dis Ditis) A brother ofjupiter and god of the Underworld, which he ruled without mercy or compassion. His wife, Proserpine (Proserpina -ae f., also called by her Greek name, Persephone), was queen of the dead. Saturn (Saturnus -i m.) The ruler of heaven and earth before being dethroned by his son, Jupiter. During Saturn's reign, mortals enjoyed simple lives in a rural setting and were content with plain food, such as acorns their happiness was complemented by their respect for honesty and justice. Venus (Venus Veneris...


The Marxist cultural theorist Fredric Jameson has described aestheticism as a 'compensation for everything lost in the process of the development of capitalism', a way of insisting on the importance of quality in a world that seemed more interested in quantity, and of preserving 'the place of sheer color and intensity within the grayness of measurable extension and geometrical abstraction' (2002 225). The aesthetes' commitment to the individual's perception of beauty therefore offered an alternative to the utilitarian aim of achieving 'the greatest happiness of the greatest number' (Bentham 1988 3). Art, for the utilitarians, had a moral responsibility to assist social reform in direct contradiction of this view, the aesthetes placed art outside all moral and even social considerations art was the product of subjective experience and made for the artist's delight alone. As Oscar Wilde wrote, 'whenever a community or a powerful section of a community, or a government of any kind,...

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