(Oxford University Press, 1906.)

There are endless factors to consider when deciding what college is the right fit. So while your parents may have strong opinions on why thier alma mater may be "the one," you may have another incentive for considering it - legacy scholarships.

A Farewell to Essay-writing (Mar.,1828) (Also appears in #14 #15.)

when he thinks to grasp the luckless prize, finds it not worth the trouble ...

A Farewell To Essay-Writing (Mar.,1828)

In making that sense, furthermore, Sandover completes Eliot's quest to achievehis criterion for great art--that it commune with the dead (Longenbach, 18-19). It doesso, as I have been arguing, by moving that communion from the realm of imagination to therealm of experience. That move thus becomes the next (or final?) step in the quest Eliotarticulated. As such, Sandover becomes The Waste Land'ssupplement, a point that becomes uncannily clear in yet another way, when we refer tofacsimile of The Waste Land's original draft. There we discover inthe final passage that the original draft contained the line "These fragments I havespelt into my ruins" (Facsimile, 81) instead of "These fragments I have shoredagainst my ruins."[22] Longenbach is correct, I believe, that the earlier versionlends credence to a reading of the poem as attempting to express wholeness:

Chosen as a Notable Essay of 2003 in The Best American Essays, 2004.

This is what Merrill learns in the lessons of the gods which he translates in aschoolroom setting that not only reconstitutes the scribes as students/children (asopposed to "Gidean school teacher") but also the mentors/angels/gods as family,constantly stressing their filial relationship to one another. Because each of thearchangels constitutes a basic element, the elements too exist in an eternal, filialrelationship. The "summer without parents" which is the puzzle in "Lost inTranslation," thus comes to an end as patriarchal and matriarchal authority unite andthe enmity of the Oedipal triangle dissolves in the setting which makes sense of(god-the-) father.

The Little Joe Clubhouse Reader, David Edgar & Sam Ashby, Ditto Press / Little Joe.
there is such a thing as an essential difference of character in different individuals.

Includes essays by Marcia Pointon ("Virtue, Excess and Danger", pp.

In chronicling developments in the history of human understanding, Michel Foucaultbelieved that the moment when the sign ceased to be transparent marked the emergence ofthe human as subject and, as well, the beginning of representational art. In other words,it marked the birth of exactly those conflicts at work in Merrill's poetry between art andwhat it represents: the relationship of the narrator to the narrated and of experience toimagination. So long as the narrator created the narrative, distributed significance,created metaphor, the authority for that creation remained in doubt, a doubt which grewunder the influence of Darwin, Marx, Nietzsche, Freud, and Einstein to culminate in thecrisis voiced by The Waste Land. To put it another way, Eliot's poemcan be viewed as an objective correlative for what he identified in "The MetaphysicalPoets" as the "dissociation of sensibility." Whereas the seventeenthcentury poets, he argued, "possessed a mechanism of sensibility which could devourany kind of experience" (273) and "were, at best, engaged in the task of tryingto find the verbal equivalent for states of mind and feeling" (275), later poets cameto separate thought from sensibility, emphasizing one at the expense of the other, asituation from which poetry has never recovered.[20] For Eliot, the implications ofthis situation presented a clear charge for modern poetry: "Our civilizationcomprehends great variety and complexity, and this variety and complexity, playing upon arefined sensibility, must produce various and complex results. The poet must become moreand more comprehensive, more allusive, more indirect, in order to force, to dislocate ifnecessary, language into its meaning" (275).

The following suggestions will help you to begin crafting your essays.

Sex, Disease and Pity: A Harlot's Progress (pp.

Chapter two, on "Genre", deals with Hogarth's "modern moral subjects" and offers a new and a surprising interpretation of Beer Street and Gin Lane.* * *Vincent Carretta, 'The Snarling Muse': Verbal and Visual Political Satire from Pope to Churchill, Philadelphia: University of Pennsylvania Press, 1983.

* * *Bernd Krysmanski, "A Harlot's Progress von William Hogarth: Aufstieg und Fall einer Hure.


This recontextualization, moreover, does not rely on formal resolution but on thebreaking of form. As Yenser shrewdly observes, the presence or absence of rhyme in thesecond of these two lines would have identified them either as a fragment of a Rubaiyatstanza or a short paragraph. "It is a matter of 'missing feet'--and of a missingmetrical foot or two. A closure that is an opening, this passage is irrevocably intransition" (26). Since the table, furthermore, is an oasis, the found puzzle pieceis like the wellspring beneath the surface that gives the palm tree life. Both the Valerypoem, "Palme," and Merrill's search for Rilke's translation of it--mentionedparenthetically near the beginning of the poem and directly at the end--come to mind. Theaspects of the experiential and emotional quest in the poem thereby connect with theliterary quest, and the poem grows rich with reverberation. Each motif echoes the next soclosely that they almost merge. Everything becomes part of something else and, ultimately,part of a puzzle, tenuous and fragile in its unity, but nonetheless always capable of thatunity.