Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
Answer:
Explanation:
Rosencrantz and Guildenstern were interested in knowing what happened to their friend hamlet who has been misbehaving. They tried asking questions from him but were confused. Guildenstern suggested to Rosenvrantz that they should change identity so that they can practise the question answer game. The game had no significance as they became more confused. Hamlet had an valid reason for been angry because he just lost his father and his uncle misbehaves.
While still on stage Hamlet came in and confuse his friend colonius for a riddles they become more confused.
These words appear on the bills at the CourtHouse
<h3>What is Huckle Berry Finn Adventures?</h3>
Huckle Berry Finn Adventures is a famous novel by the famous writer Mark Twain. This novel focuses on a boy known as Huckle Berry Finn.
<h3>Where do the words Ladies and children not admitted appear?</h3>
These words are part of chapter 22 of this novel, in this chapter Huckle describes how a Shakespeare performance had very low attendance and the audience laughed at the performance.
Due to this, the organizator decides to change the content of the performance to a low comedy one. So, he creates a bill with the titles that will be performed the next day but he warns ladies and children not admitted due to the content of the plays.
Learn more about Mark Twain in: brainly.com/question/10739850
The right answer for the question that is being asked and shown above is that: "d. hot-headed young men." Abram and Balthasar, who appear in Scene i, are examples of d. hot-headed young men. The roles they portray are being as hot-headed person.
Answer:
it's said that words are mightier than the sword because by the sword you can kill one person at a time but my words you can create a huge massacre.... once a word is said you can never take it back in any way. Whenever a word emotion it creates tremendous power to kill. Hope this helps!
