In both "Like the Sun" and "The Open
Window", truthfulness is the idea that is explored.
In Like the Sun, Sekhar decides to be truthful and makes a
pact with himself and eternity yet he soon finds out that being truthful isn't
so easy.
On the other hand, “The Open Window” conveys the message
that in a person's narrative about an incident, it is often difficult to
decipher the truth.
The narrator opens the Prologue with a tribute to the beauty of the cycle of life.
Here are the lines that the narrator use to open the prologue:
<em>Whan that Aprill with his </em><em>shoures</em><em> </em><em>soote</em>
<span><em>The </em><em>droghte</em><em> of March hath </em><em>perced</em><em> to the </em><span><em>roote</em>
</span></span><span>
</span>This lines indicates the changing seasons that describe the return of the spring season. From the options given above, <span>the beauty of the cycle of life is the only one that make sense.</span>
<span>Jefferson claims that the Declaration of Independence was directly written as a means of establishing and outlining the guidelines by which the social and political factors of the country will function, in order to ensure clear and apparent equality for all.</span>
Answer:
Punctuation is best described at the end of the sentence.
Answer:
Donne uses the extended metaphor of a ‘city’ not only in ‘Holy Sonnet XIV’ but also in ‘Loves War’. In this Elegy which was written in Donne’s youth, he describes a ‘free City’ which ‘thyself allow to anyone’ – a metaphor for how anyone can enter a woman [ii] – and goes onto say how in there he would like to ‘batter, bleeds and dye’. Here, Donne is controlling the ‘city’ and taking over it himself, however, if Donne intended to use this same metaphor in ‘Holy Sonnet XIV’, the roles have changed and it now signifies how it is Donne who needs to be seized by God’s spirit. Furthermore, this represents how Donne’s life and therefore attitude has changed between writing these poems; he used to feel in control but now he is controlled.
The physical verbs that are used immediately sets the violent theme of the octave. The spondaic feet emphasizes Donne’s cry for God to ‘break, blow’ and ‘burn’ his heart so he can become ‘imprisoned’ in God’s power, creating a paradoxical image of a benevolent God acting in a brutal way. He uses a metaphysical conceit to explain how he is ‘like an usurp’d town’ with God’s viceroy (reason) in him. This imagery of warfare that pervades the sonnet symbolises his soul at war with himself; only if God physically ‘overthrow’s’ Donne and ‘batters’ his sinful heart will he be able to ‘divorce’ the devil. It was around the time of writing this poem that Donne renounced his Catholic upbringing which gives evidence to the assumption that the sin he was struggling with began to overpower his Christian beliefs and needed God become as real to him as God was to his respected Catholic parents. Furthermore, in ‘Holy Sonnet XVII’ Donne exclaims how ‘though [he] have found [God], and thou [his] thirst hast fed, a holy thirsty dropsy melts [him] yet. This reveals that Donne feels that even though he has found God, his yearning is not satisfied which gives evidence towards the assumption that he is crying out for spiritual ecstasy. This paradox between freedom and captivity was most frequently written about by most prison poets such as Richard Lovelace [iii] Donne wrote, ‘Except you enthrall me, never shall be free’ which implies the same idea as Loveless in ‘To Althea, From Prison’ that true freedom is internal, not external, symbolising his struggle with sin whilst he is physically free.
