ارجو الدخول ضروري

[alhaloh]

plz help me with the symbols in yeats poem "easter 1916" , "sailing to byzatnium" and "the second coming"
i'll b v.thankful for u

also i want u 2 tell the reasons or the causes y the students of english department drop out their studyig


plz iwant allthese before wednsday bz it is the due day of assginment

tttthhhhhankuuuuuu aaalllloooottttt

[MOON LASS]

السلام عليكم ورحمة الله وبركاته

شوفي حبيبتي اتمنى اساعدك باللي اقدر وربي يقدرني

انا سبق ودرست Sailing to byzantuimواعرف ان themeالمهمة فيها the eternity and beauty of ART

انا هنا جبت لك power pointعن Easter & Sailing to Byzantiumوحلوه مره فيها شرح وstyle وشوي symbols
take the link
http://www.authorstream.com/Presenta...pt-powerpoint/

وهنا شرح مفصل عن Sailing to Byzantium" عشان تفهمي القصيدة بالأول بعدين تطلعين symbols
://www.sparknotes.com/poetry/yeats/section6.rhtm"]


[/URL]

وهنا شرح عن the second coming
www.sparknotes.com/poetry/yeats/section6.rhtm"]

[/URL]
وهنا تحليل لشعر Yeats بشكل عام وفيهsymbols://www.sparknotes.com/poetry/yeats/analysis.html"]

[/URL]

وهنا --- معليش تعبتك بس عشان تنجحي لازم تقراي كثير
هنا في رابط يتكلم عن مراحل الشعر عند yeats
engliterarium.blogspot.com/2008/08/symbolism-in-yeats-poetry.html"]

وهنا كلام عن symbolism in Yeats

Symbolism in Yeats' poetry

By moahmed nadi, Student



The notion of symbolism in (sailing to byzantium + byzantium +the second coming )



An essay hosted at LiteratureClassics.com






It is noteworthy to state the fact that the influence of symbolism is too vast on later movements . The experimental techniques devised by these poets enriched the technical repertoire of modernism , particularly the works of W B Yeats . All symbolists tend to support the idea of a connection between the idea of first , consciousness and the outer world and second , nature and the spiritual world . IN this context yeats greatly admired Charles Baudelaire and regarded him as a pivotal figure for the style .


In essence , symbolism is difficult to define . Yeats was first introduced to the doctrine of symbolism by his friend Arthur Symons . This instruction gave elaborate form to his verse . Symbols come to stand for the poet's emotion and , in every way serve to make more complex the poems written . In addition , they are able to facilitate a certain movement from the divine life to the outer counterpart . In the light of the two byzantium poems and the second coming , symbolism is the elemental vehicle yeats employs to enhance those poems . Yeats idealizes byzantium as a symbol of unity in spiritual and everyday life . Another symbol that carries throughtout the poems is that of a bird . Yeats uses the image of a bird 'set upon a golden bough to sing' to refer to the timlessness and spirit he craves . In the same way that the bird is there forever , singing for all time , Yeats longs to be able to sing similarly through his poetry .


In his 1901 Essay 'Magic' , yeats writes :"I can not now think symbols less than the greatest of all powers , whether they are used consciously by the masters of magic , or half-unconsciously by their successors , the poet the musician and the artist ." What is more , there is a tendency to say that Yeats was primarily influnced by Blake into the use of symbols as well . Within the framework of the two byzantium poems , the fish , flower and young lovers images are apparently used by yeats to describe the transience of the physical world he is living in . The symbol of music runs throughout yeats poetry , providing a motif between the eternal world he yearns for and the ephemeral counterpart . This device was extracted from the symbolists to emphasize the utterance of the sound in the verse .

To make a long story short , Yeats dexterously highlights the technique of symbolism to enhance his poetry . A thing which helped his works gain an unprecedented irradiance among modern poets .

وانت اقراي شرح القصائد و الرمزية عند yeats وطبقيها على القصائد

موفقه ياررررررررررب

Good Luck

’Moon Lass

]

[alhaloh]

شكرا عالمرور وجزاك الله خير

[alhaloh]

جزاك الله خير بس انا عندي كل المعلومات اللي اعلاه وكنت ابي معلومات زياده لكن جعله في مزاين حسناتك

[badr alhrbe]

لو سمحتوا ابغى موضوع عن symbolism في قصيدة the second coming

[badr alhrbe]

ردو ضروري بسرعة عندي بحث بس عن هدة الالقصيدة

[samsoma]

pleas i want some one to help me in how h can make a good translation

[Mhmd_ss77]

I would advise you to visit this link

http://translate.google.com/translate_t#submit

[rehab saad]

i want the vision of eliot in the waste land

[الأمــــــــل]

جزاك الله خير ماقصرتي يالغاليه

[ربيع العراقي]

sailing to byzantium analysis
Poem Summary

Lines 1-3

In the opening stanza Yeats introduces a world of youth and sensuality. The conflict of the poem is addressed when the speaker distances himself from this world by stating “That is no country for old men.” The speaker feels alien in this natural, youthful landscape. The image of the birds, often a symbol for the soul, are described as “dying generations.” Their songs are not immortal and thus they are aligned with the natural world.

Lines 4-6

Here the speaker continues his description of the natural world with images of fertility. “Salmon falls” and “mackerel-crowded seas,” are both images of abundance and fertility. Yeats’s salmon image is particularly interesting because it suggests both life in abundance, or the natural world, as well as the journey towards death, or the spiritual world. Each year salmon swim arduously upstream in order to reach a place to reproduce. In doing so they both work with, and against nature. Reproduction is of course, natural, but swimming upstream is an act that goes against nature. The motion itself is much like flying, and one is brought back to the idea of the body travelling towards the soul.
Lines 7-8
The rhyming couplet at the end of this stanza emphasizes the conflict of the poem. Youth, caught in the “sensual music” of the natural world overlooks the imposing, immortal aspects of art and intellect.
Lines 9-10
The second stanza introduces the world of the speaker as very different from the “country” of the previous stanza. An elderly man is described as a scarecrow. This “bird” image is interesting because it both describes the man physically, and also contributes to the description of the spiritual in the natural world. While youth is represented by singing birds, age is shown by a pathetic scarecrow.

Lines 11-12

The scarecrow image is transformed into the soul with another motion similar to flight. The clapping of hands and singing evokes more bird imagery, but this time it is associated with the spiritual world.

Lines 13-16

In these lines the speaker concludes that only in an ideal environment, like Byzantium can he learn the songs of the soul. Note the speaker elevates Byzantium to a “holy city” thus deeming it appropriate in the poem to be the center of the spiritual world.

Lines 17-18

In Byzantium, the speaker addresses the “sages” of Byzantium whose images are enclosed inside a holy fire, represented in a gold mosaic. This also is a disguised bird image. The sages may remind the reader of the Phoenix, an ancient, mythical bird whose body is consumed by fire, only to be reborn from its own ashes.

Lines 19-20

In these lines the speaker asks the sages to make him immortal like the glorious works of art in Byzantium. For this to occur his body, or natural element must be destroyed.

Lines 21-24

Here the speaker’s heart, the home of his once youthful passions, is consumed by a cleansing fire along with his body which is described as a “dying animal.” Without the body, his soul, like the sages’ is held in the “artifice of eternity.

”
Lines 25-29

In these lines the speaker renounces the natural world and chooses to recreate himself in the form of an immortal golden bird. Why does he choose this form? Perhaps because the bird symbolizes the soul and it sings much like the natural birds in the first stanza. But unlike those birds, the golden bird which exemplifies the art and beauty of Byzantium culture, is immortal.

Lines 30-32

Placed in a golden tree the speaker has now completely transformed himself into a work of art, unable to decay. In the first stanza the birds of the natural world sing of “Whatever is begotten, born, and dies,” and also die themselves at the hands of nature. In the ideal world the speaker sings of “what is past, or passing, or to come,” thereby indicating his immortality.

تحليل آخر
Summary
The speaker, referring to the country that he has left, says that it is “no country for old men”: it is full of youth and life, with the young lying in one another’s arms, birds singing in the trees, and fish swimming in the waters. There, “all summer long” the world rings with the “sensual music” that makes the young neglect the old, whom the speaker describes as “Monuments of unageing intellect.”
coat upon a stick, unless his soul can clap its hands and sing; and the only way for the soul to learn how to sing is to study “monuments of its own magnificence.” Therefore, the speaker has “sailed the seas and come / To the holy city of Byzantium.” The speaker addresses the sages “standing in God’s holy fire / As in the gold mosaic of a wall,” and asks them to be his soul’s “singing-masters.” He hopes they will consume his heart away, for his heart “knows not what it is”—it is “sick with desire / And fastened to a dying animal,” and the speaker wishes to be gathered “Into the artifice of eternity.”
The speaker says that once he has been taken out of the natural world, he will no longer take his “bodily form” from any “natural thing,” but rather will fashion himself as a singing bird made of hammered gold, such as Grecian goldsmiths make “To keep a drowsy Emperor awake,” or set upon a tree of gold “to sing / To lords and ladies of Byzantium / Or what is past, or passing, or to come.”
Form
The four eight-line stanzas of “Sailing to Byzantium” take a very old verse form: they are metered in iambic pentameter, and rhymed ABABABCC, two trios of alternating rhyme followed by a couplet.
Commentary
“Sailing to Byzantium” is one of Yeats’s most inspired works, and one of the greatest poems of the twentieth century. Written in 1926 and included in Yeats’s greatest single collection, 1928’s The Tower, “Sailing to Byzantium” is Yeats’s definitive statement about the agony of old age and the imaginative and spiritual work required to remain a vital individual even when the heart is “fastened to a dying animal” (the body). Yeats’s solution is to leave the country of the young and travel to Byzantium, where the sages in the city’s famous gold mosaics (completed mainly during the sixth and seventh centuries) could become the “singing-masters” of his soul. He hopes the sages will appear in fire and take him away from his body into an existence outside time, where, like a great work of art, he could exist in “the artifice of eternity.” In the astonishing final stanza of the poem, he declares that once he is out of his body he will never again appear in the form of a natural thing; rather, he will become a golden bird, sitting on a golden tree, singing of the past (“what is past”), the present (that which is “passing”), and the future (that which is “to come”).
A fascination with the artificial as superior to the natural is one of Yeats’s most prevalent themes. In a much earlier poem, 1899’s “The Lover Tells of the Rose in His Heart,” the speaker expresses a longing to re-make the world “in a casket of gold” and thereby eliminate its ugliness and imperfection. Later, in 1914’s “The Dolls,” the speaker writes of a group of dolls on a shelf, disgusted by the sight of a human baby. In each case, the artificial (the golden casket, the beautiful doll, the golden bird) is seen as perfect and unchanging, while the natural (the world, the human baby, the speaker’s body) is prone to ugliness and decay. What is more, the speaker sees deep spiritual truth (rather than simply aesthetic escape) in his assumption of artificiality; he wishes his soul to learn to sing, and transforming into a golden bird is the way to make it capable of doing so.
“Sailing to Byzantium” is an endlessly interpretable poem, and suggests endlessly fascinating comparisons with other important poems—poems of travel, poems of age, poems of nature, poems featuring birds as symbols. (One of the most interesting is surely Keats’s “Ode to a Nightingale,” to which this poem is in many ways a rebuttal: Keats writes of his nightingale, “Thou wast not born for death, immortal Bird! / No hungry generations tread thee down”; Yeats, in the first stanza of “Sailing to Byzantium,” refers to “birds in the trees” as “those dying generations.”) It is important to note that the poem is not autobiographical; Yeats did not travel to Byzantium (which was renamed Constantinople in the fourth century A.D., and later renamed Istanbul), but he did argue that, in the sixth century, it offered the ideal environment for the artist. The poem is about an imaginative journey, not an actual one.

[ربيع العراقي]

sailing to byzantium analysis
Poem Summary

Lines 1-3

In the opening stanza Yeats introduces a world of youth and sensuality. The conflict of the poem is addressed when the speaker distances himself from this world by stating “That is no country for old men.” The speaker feels alien in this natural, youthful landscape. The image of the birds, often a symbol for the soul, are described as “dying generations.” Their songs are not immortal and thus they are aligned with the natural world.

Lines 4-6

Here the speaker continues his description of the natural world with images of fertility. “Salmon falls” and “mackerel-crowded seas,” are both images of abundance and fertility. Yeats’s salmon image is particularly interesting because it suggests both life in abundance, or the natural world, as well as the journey towards death, or the spiritual world. Each year salmon swim arduously upstream in order to reach a place to reproduce. In doing so they both work with, and against nature. Reproduction is of course, natural, but swimming upstream is an act that goes against nature. The motion itself is much like flying, and one is brought back to the idea of the body travelling towards the soul.
Lines 7-8
The rhyming couplet at the end of this stanza emphasizes the conflict of the poem. Youth, caught in the “sensual music” of the natural world overlooks the imposing, immortal aspects of art and intellect.
Lines 9-10
The second stanza introduces the world of the speaker as very different from the “country” of the previous stanza. An elderly man is described as a scarecrow. This “bird” image is interesting because it both describes the man physically, and also contributes to the description of the spiritual in the natural world. While youth is represented by singing birds, age is shown by a pathetic scarecrow.

Lines 11-12

The scarecrow image is transformed into the soul with another motion similar to flight. The clapping of hands and singing evokes more bird imagery, but this time it is associated with the spiritual world.

Lines 13-16

In these lines the speaker concludes that only in an ideal environment, like Byzantium can he learn the songs of the soul. Note the speaker elevates Byzantium to a “holy city” thus deeming it appropriate in the poem to be the center of the spiritual world.

Lines 17-18

In Byzantium, the speaker addresses the “sages” of Byzantium whose images are enclosed inside a holy fire, represented in a gold mosaic. This also is a disguised bird image. The sages may remind the reader of the Phoenix, an ancient, mythical bird whose body is consumed by fire, only to be reborn from its own ashes.

Lines 19-20

In these lines the speaker asks the sages to make him immortal like the glorious works of art in Byzantium. For this to occur his body, or natural element must be destroyed.

Lines 21-24

Here the speaker’s heart, the home of his once youthful passions, is consumed by a cleansing fire along with his body which is described as a “dying animal.” Without the body, his soul, like the sages’ is held in the “artifice of eternity.

”
Lines 25-29

In these lines the speaker renounces the natural world and chooses to recreate himself in the form of an immortal golden bird. Why does he choose this form? Perhaps because the bird symbolizes the soul and it sings much like the natural birds in the first stanza. But unlike those birds, the golden bird which exemplifies the art and beauty of Byzantium culture, is immortal.

Lines 30-32

Placed in a golden tree the speaker has now completely transformed himself into a work of art, unable to decay. In the first stanza the birds of the natural world sing of “Whatever is begotten, born, and dies,” and also die themselves at the hands of nature. In the ideal world the speaker sings of “what is past, or passing, or to come,” thereby indicating his immortality.

تحليل آخر
Summary
The speaker, referring to the country that he has left, says that it is “no country for old men”: it is full of youth and life, with the young lying in one another’s arms, birds singing in the trees, and fish swimming in the waters. There, “all summer long” the world rings with the “sensual music” that makes the young neglect the old, whom the speaker describes as “Monuments of unageing intellect.”
coat upon a stick, unless his soul can clap its hands and sing; and the only way for the soul to learn how to sing is to study “monuments of its own magnificence.” Therefore, the speaker has “sailed the seas and come / To the holy city of Byzantium.” The speaker addresses the sages “standing in God’s holy fire / As in the gold mosaic of a wall,” and asks them to be his soul’s “singing-masters.” He hopes they will consume his heart away, for his heart “knows not what it is”—it is “sick with desire / And fastened to a dying animal,” and the speaker wishes to be gathered “Into the artifice of eternity.”
The speaker says that once he has been taken out of the natural world, he will no longer take his “bodily form” from any “natural thing,” but rather will fashion himself as a singing bird made of hammered gold, such as Grecian goldsmiths make “To keep a drowsy Emperor awake,” or set upon a tree of gold “to sing / To lords and ladies of Byzantium / Or what is past, or passing, or to come.”
Form
The four eight-line stanzas of “Sailing to Byzantium” take a very old verse form: they are metered in iambic pentameter, and rhymed ABABABCC, two trios of alternating rhyme followed by a couplet.
Commentary
“Sailing to Byzantium” is one of Yeats’s most inspired works, and one of the greatest poems of the twentieth century. Written in 1926 and included in Yeats’s greatest single collection, 1928’s The Tower, “Sailing to Byzantium” is Yeats’s definitive statement about the agony of old age and the imaginative and spiritual work required to remain a vital individual even when the heart is “fastened to a dying animal” (the body). Yeats’s solution is to leave the country of the young and travel to Byzantium, where the sages in the city’s famous gold mosaics (completed mainly during the sixth and seventh centuries) could become the “singing-masters” of his soul. He hopes the sages will appear in fire and take him away from his body into an existence outside time, where, like a great work of art, he could exist in “the artifice of eternity.” In the astonishing final stanza of the poem, he declares that once he is out of his body he will never again appear in the form of a natural thing; rather, he will become a golden bird, sitting on a golden tree, singing of the past (“what is past”), the present (that which is “passing”), and the future (that which is “to come”).
A fascination with the artificial as superior to the natural is one of Yeats’s most prevalent themes. In a much earlier poem, 1899’s “The Lover Tells of the Rose in His Heart,” the speaker expresses a longing to re-make the world “in a casket of gold” and thereby eliminate its ugliness and imperfection. Later, in 1914’s “The Dolls,” the speaker writes of a group of dolls on a shelf, disgusted by the sight of a human baby. In each case, the artificial (the golden casket, the beautiful doll, the golden bird) is seen as perfect and unchanging, while the natural (the world, the human baby, the speaker’s body) is prone to ugliness and decay. What is more, the speaker sees deep spiritual truth (rather than simply aesthetic escape) in his assumption of artificiality; he wishes his soul to learn to sing, and transforming into a golden bird is the way to make it capable of doing so.
“Sailing to Byzantium” is an endlessly interpretable poem, and suggests endlessly fascinating comparisons with other important poems—poems of travel, poems of age, poems of nature, poems featuring birds as symbols. (One of the most interesting is surely Keats’s “Ode to a Nightingale,” to which this poem is in many ways a rebuttal: Keats writes of his nightingale, “Thou wast not born for death, immortal Bird! / No hungry generations tread thee down”; Yeats, in the first stanza of “Sailing to Byzantium,” refers to “birds in the trees” as “those dying generations.”) It is important to note that the poem is not autobiographical; Yeats did not travel to Byzantium (which was renamed Constantinople in the fourth century A.D., and later renamed Istanbul), but he did argue that, in the sixth century, it offered the ideal environment for the artist. The poem is about an imaginative journey, not an actual one.

[ربيع العراقي]

مع تحيات طلاب جامعة تكريت كلية التربية قسم اللغة الانكليزية

[ربيع العراقي]

السلام عليكم
طلاب راح احاول ان اضع بين ايديكم كافة المواد المطلوبة في مادة الشعر الانكليزي لطلاب اللغة الانكليزية جامعة تكريت من الان وتقبلوا تحياتي