The Life of William Blake essays

The Life of William Blake essays Where the melodious winds have birth; The languid strings do scarcely move! The sound is forc'd, the notes are few! In those lines, it has been said, the eighteenth century dies to music. (Wilson 1) The writer of these lines was William Blake, English poet, painter and engraver who created a unique form of illustrated verse. His poetry, inspired by mystical vision, is among the most original, lyric, and prophetic in the English language. William Blake has become one of the English speaking worlds most renowned poets and artists. (Essick 9) His writings are taught frequently in schools and studied by scholars. However, in his lifetime, his works were hardly known except for a small group of patrons and connoisseurs. His symbolic pictures and visionary poems are not always easy to understand, because he invented his own mythology to express his ideas. His pictures and poems reveal a powerful artistic imagination. William Blake was born on November 28, 1757, the third of five children born to James and Catherine Blake. His father was a London hosier, living at 28 Broad Street, Golden Square. Although Mr. Blake was a non-conformist, William was christened on the eleventh of December at St. James Church, Picadilly (Wilson 4) London, where he lived for all but three years of his life, and the social class of shopkeepers in which he was raised, had great influences on the course of Blakes life. He started having visions, where he saw angels walking around, when he was only four years old. This disturbed his truth-loving parents. Because William was strange and stormy, his father decided he should be spared the discipline of school. His mother was probably the one who taught him to read and write. While Blake received very little of traditional education, he was well versed in Greek and Latin literature, the Bible, and Milton. Blake continued to grow intellec...

Cleopatra in Antony and Cleopatra Essay Example

Cleopatra in Antony and Cleopatra Essay Example Cleopatra in Antony and Cleopatra Essay Cleopatra in Antony and Cleopatra Essay Shakespeare presents the strength of Cleopatras determination in act 3, scene 7, as Enobarbus attempts to dissuade her from joining Antony in the battlefield. Despite being told that in Rome, Antony, already criticized for his frivolity, is mocked for handing over his command to women and a eunuch, she hyperbolically dismisses his opinion by saying Sink Rome, and their tongues rot that speak against us. This scene also contains the only incidence of Cleopatra lacking sexual awareness, not recognizing the euphemism provided by Enobarbus that to have stallions and mares serving together in war invites disaster, as the stallions will only be interested in copulating (although the shock embedded in her response what ist you say could be spoken with sarcasm in performance). This display of determination on Cleopatras part allows Shakespeare to emphasise the level of blame placed on the Queen by both Enobarbus and Scarus for the first defeat at Actium, which we are told about in scene 10. Enobarbus anguished words thantoniad, the Egyptian admiral, with all their sixty, fly and turn the rudder immediately place the blame on the lovers. Scarus confirms the defeat, and his image we have kissed away kingdoms and provinces immediately lays the blame squarely on the mutual infatuation of Antony and Cleopatra. He focuses more on Cleopatra, labelling her ribaudred nag of Egypt and later likening her flight to that of a maddened cow stung by a gadfly (breeze). However, in scene 13 when she asks whose fault it is, Enobarbus says Antony only, that would make his will lord of his reason. However, his opinion disagrees with the many examples we see throughout the play of Shakespeare presenting Cleopatra as the dominant force in their relationship, thereby arguably also the one to blame for his downfall, since she is the one who pulls the strings. Indeed, in the opening scene Antony is referred to by Philo as a strumpets fool, a term which bears connotations of a lack of control on Antonys part. Shakespeare seems again to want to show the Queens dominance early on, as in act 1, scene 2, Enobarbus jokes, hush, here comes Antony, mocking Antonys lack of power within the relationship. As a tragedy, one of the major questions Shakespeare asks of the audience is whether Antony is to blame for his downfall, or whether he was simply a victim of his fatal flaw. The presentation of Cleopatra as the more dominant force in their relationship is an important factor in this decision. Cleopatra is endlessly described or discussed by other characters. Enobarbus speaks of her infinite variety. For Antony, she can be an enchanting queen or foul Egyptian; for Charmian, a lass unparalleled; for Caesar, dear queen to her face and whore behind her back. Her actions and words display a similarly mercurial range: bravery and cowardice, cruelty and gentleness. Taunting mockery, deviousness, capriciousness, pride, self-indulgence and humility are only a fraction of her infinite variety. At the end of the play she achieves a kind of spendour in her suicide as she strives to fulfil her immortal longings: a reunion with Antony, transcending death itself. It may be an illusion, yet another of the grandiose fantasies she constructs of herself and Antony, but it is thrillingly theatrical, and a dramatically satisfying climax to the rollercoasting emotional ride on which she takes the audience. There are numerous ways of interpreting how Shakespeare wished to present Cleopatra: the archetypal femme fatale, a wily politician, or a cunning charmer. She uses all her considerable skills to retain control of her country, and when that endeavour fails, exercises her independence in choosing death rather than humilation. In her paradoxical behaviour, we see the complex strategies of a woman who has to prosper in a male, militaristic world. In creating Cleopatra, Shakespeare offers the audience many opportunities to reflect on such themes as the nature of love, the exercise of power in personal and political relationships, and the conflicts that ensue in such relationships. The plays constant movement, its recurring images of melting and dissolution, find their reflection in Cleopatras mercurial nature, and in her final attempt to transcend earthly bonds and achieve immortal union with Antony.