Songs of Song is a depiction of the value, beauty, and meaning of work and love between a man and a woman. The Song relays stories of an ideal image of family, work, and life by showcasing lovers who court, marry, and then work. King Solomon, who is the author of the Song, explicitly communicated the themes of hardship, pleasure, beauty, joy, passion, diligence, and family.
At the beginning of the Song, a woman is expressing her love for her man. While at it she also informs that her skin has become dark as a result of hard work in the family vineyard. She says that her brothers made her work hard there. Although this Song is about love, one cannot fail to notice that work is also given center stage. In addition, dark skin had a different meaning from the present-day racial connotation. Dark skin was used to describe people who toiled in the sun for economic reasons. Perhaps, they were mostly the peasants who ranked low in the economic hierarchy. In this Song, however, the womans beauty has not diminished by hard work. As she puts it in Song 1:5, Dark am I, yet lovely, King James Version. Moreover, the woman is not regretting her job for it has prepared her for the future when she expects to tender for her own vineyard as well (Song 8:12). Later, she will leave her brothers and get married and have her own vineyard.
In many civilizations, work has always been construed as an enemy of beauty. However, the biblical perspective brought out through the Song depicts work as an essential beauty. Not only does King Solomon builds a palanquin for himself, but the Song also praises the loveliness of workmanship. Thus, as expressed in Song 3:10, it is a labor of love. Ultimately, the Song reiterates that apart from being a means to an economic end, work is also a foundation of aesthetic ingenuity.
In the Song, the woman is in pursuit of her beloved, a man whom she describes to be the finest of men. She receives information from her friends that the man is at his obvious place of work where he is shepherding sheep. His work, however, does not make it hard to interact with her. The arrangement of their work allows them to freely interact as a family. This is in contrast to how work is today where family interaction time is dictated by job demands and an employers goodwill.
The man and the woman proclaim their devotion to each other through the Song. He intones of her impeccable beauty and she sings how madly she is in love with him. When springtime arrives, they both sing in its glory and he invites her over to his place. In ancient Israel, springtime was a time to work on the farms. It was the time when crops were pruned to guarantee good harvests. It was also during this time that the young grapes were more attractive to foxes and animals. The two lovers, thus, find joy in chasing the foxes away from the farms. This is a glorious picture of finding pleasure and happiness at work.
A keen observer will notice that this form of work is in contradiction to what God told Adam in Genesis 3:17-19. After the man had sinned against God, He cursed the ground and commanded that food will only be produced from it after painful toil. It is evident from this verse that this was not Gods original meaning of work. Therefore, the kind of work elaborated in Song is an exemplification of how God desires people to live and work. It is a fulfillment of Isaiahs, They will build houses and dwell in them; they will plant vineyards and eat their fruit (Isaiah 65:21). This is an indication that Gods kingdom does not mean that work is eliminated but rather executed in delightful relationships.
The Song has also expressed the concept of marriage between a man and a woman. The woman desires the man and, dressed in an elegant palanquin, she goes to him. On his part, the man receives her while wearing a crown. This confirms that the couple did a beautiful wedding to officiate their love. After the wedding, both sing lovely songs to each other. The author uses vivid metaphors and images to describe the events of the wedding night. Although many Christian preachers shy away from mentioning sex, the author of the Song is categorical that sex between two lovers on their wedding day should be the norm.
Sex is used in the Song to connect the household and work. Indeed, the primary unit of all economic activities in the household. Sex gives rise to children who continue the generation and provide the workforce needed in the fields. Moreover, sex is also an expression of passion, which holds a household together. The modern-day work environment denies most couples an opportunity to have ample time with each other. In conclusion, the increase in the number of divorce cases among couples could partly be blamed on dissatisfaction, which arises from both partners being busy for each other. The Song advises that couples should not allow work to prevent them from having intimacies.
Reference
King James Bible. (2008). Oxford University Press. (Original work published 1769)
The Christian music industry has evolved since the 1980s, and many transformations have changed the agenda and goals of songwriters and singers. The difference between late 20th-century songs and those of the 21st century is the perception of the composition and the target audience. Before the current era, Christianity had started changing regarding the domain and areas it covered in society. As a result, many gospel singers have been producing tracks that tally with the period in which they release the records. A comparison of music in different decades shows an evident difference between a desire to worship and connect with the Lord and the expression of gratitude following modern spiritual fulfillment by works of the almighty God.
Awesome God by Rich Mullins
The 1980s decade was described as flashy and dangerous due to the fashion-centric elements that had been embraced by people. Mullins Awesome God communicates perfectly due to the global changes that had started taking root hence, changing peoples lives positively (Mullins 3:04). As a result of significant revolutions, the credit was given to God, and that is where the element of awesomeness was evident. Therefore, the song can be directly related to the decades evident major paraphernalia.
Lovin On Jesus by Lim, Swee-Hong, and Lester Ruth
The songwriter fills an important gap in the study of contemporary worship. The writer provides a comprehensive history of worship today. By giving the reader specific details on the development and origin of current praise songs, one gets to understand and explore Christian songs. The authors include ancient recordings and interviews of individuals who had the chance to directly engage with the songs in this genre released earlier (Lim 1).
Change My Heart, God by Eddie Espinosa
The song was a prayer to God to change peoples ways due to new life that had begun separating them from the Creator. The songwriters of the 1980s portray major developments in science and technology, and people have started getting possessed by the two phenomena leaving godly ways and concentrating on what benefited them personally (Espinosa 5). The traditional morality was lowering, and Espinosa, the lyricist, prayed for true worship that would be enabled by a heart that desired spiritual changes.
Draw Me Close by Kelly Carpenter
In the 1990s, people had embarked on leading and ministering in churches, and there was pressure to balance the perspectives of Christianity and public life in contemporary settings. Drawing closer matched the peoples desire to know God more as they multitasked between leading the biblical and everyday life (Karpenter 1:00; Draw Me Closer para. 3). The song was an application of surrender that people had admitted to due to the observed changes.
Great Is Lord by Deborah D. Smith & Michael Smith
The song was produced in 1982 and related well to the 1980-1990 era. The decade was known for its new culture characterized by advanced clothing, fashion and modernism. As depicted in the first part, the positive alterations allowed people to learn more about their God through watching Christian movies ( Great Is the Lord para. 2). Hence, they perceived that as a major revolution that showed Gods greatness in application to the world.
He Is Exalted by Twila Paris
The song He Is Exalted referred to Jesuss mighty works, which meant there was a need to exalt God as one way of showing religious affiliation to the Maker of the world. During the 1980s, when the song was produced, the world had started embracing equality in gender, less taxation for people, and global leadership with democracy ( He Is Exalted para. 5). Therefore, God was the critical gamechanger in those events and was supposed to be glorified.
How Majestic is Your Name by Michael W. Smith
The song was written as one way to appreciate the fulfillment of promises to Smith and his wife. The track was composed in 1981 when powerful transformations from God characterized the decade. In the same way, the world then owed thanksgiving and praises to God due to His mighty works for the people (Hawn para. 7). The period then marked a crucial change in how people perceived Gods word.
I Will Call upon the Lord by Michael OShields
Dated in 1981, the musical record relates to the decade by symbolling the need to wait for God to save mankind from issues that faced them, such as political moves that catalyzed the start of world wars, among other problems (Lim and Ruth 1:12). It was the time when diseases such as HIV had started getting into human life, and there was a need to call Gods name for salvation.
Lord, I Lift Your Name on High by Rick Founds
The track was composed during the end of the 1980s decade when the writer was mourning. There were remarkable events in 1989 that can relate to this song. One of the significant occasions that would make people want to live in a godly way was the economic boost after communism in Europe (Abeamacan para. 8). Due to these matters, people praised God and lifted his name high.
Youre Worthy of My Praise by David Ruis
David Ruis released his song in 1986, expressing his sincere thanks to the Lord and how he intends to express his loyalties to the supreme being. The song features how the author Ruis wants to worship God as told through the first stanza I will worship (I will worship), With all of my heart (with all of my heart) (0:01).
Celebrate Jesus by Gary Oliver
The song relates to the decade since the world celebrated a landmark 1980 years after the ascension of Jesus Christ and the beginning of new transformations in science, theology, and other disciplines. The song was produced in the 1980s at Easter time and was sung mostly by children during Sunday teen presentations (Christensen and MacDonald para. 6). The celebration would also be linked to the liberal structure of the world.
Works Cited
Carpenter, Kelly. Draw Me Close. Tumblr, 1994, Web.
Espinosa, Eddie, and Steve Dunn. Change My Heart, O God. Allegis Publications, 1982.
Good Good Father Hymnary.Org, Web.
Change My Heart, O God Sdunnmusic.Com, Web.
Christian Church Worship Today Crosswalk.Com, Web.
Draw Me Closer Tumblr, 2022, Web.
Great Is the Lord Hymnary.Org, Web.
He Is Exalted . Hymnary.Org, Web.
I Will Call Upon the Lord Hymnary.Org, 2022, Web.
Brian Johnson Forever (We Sing Hallelujah) Lyrics.Com, Web.
Abeamacan. Lord, I Lift Your Name on High Meaning Christian Song Meaning, 2017, Web.
Cain, David. Song Scoops. Web.
Christensen, Phil, and Shari MacDonald. Song Story: Celebrate Jesus By Gary Oliver Crosswalk.Com, 2018, Web.
Hawn, Michael. History Of Hymns: Great Is the Lord And How Majestic Is Your Name Discipleship Ministries, 2018, Web.
Lim, Swee-Hong, and Lester Ruth. Lovin On Jesus. Abingdon Press, 2017.
Mullins, Rich. Winds of Heaven, Stuff of Earth. 1993.
The track, released in 2002, was intended to honor and worship God due to His major provisions in peoples lives. There was the transition to a new era and century. Therefore, the song relates to the decade since it was necessary to praise God for enabling the world to mark a new period (Redman 97). The span was characterized by the awakening to modernism, including spiritual perspectives.
Forever by Chris Tomlin
The song is about Gods faithful deeds to His people, whereby His unconditional love for His servants can be seen. This tune relates to the decade because of the optimism that people had regarding the world, courtesy of Gods promises ( Song Story: Forever by Chris Tomlin para. 7). The perspective of forever is evident since God has not changed and will remain the same forever; hence, His grace has enabled people to be alive.
Forever (We Sing Hallelujah) by Brian Johnson
The song is more affiliated with Easter moments since it covers Christs death and resurrection. The musical piece relates to the 2010s decade, which saw the emergence of globalization, especially in industries that were a result of Gods power through Jesus Christ ( Brian Johnson Forever (We Sing Hallelujah para. 6-8). The Hallelujah part of the song connects the essence of praising God due to His essential modifications that impacted the world negatively and positively.
Good, Good Father by Anthony Brown Pat Barrett
The songwriter intended to show how God has been faithful by guiding His people the same way a parent can direct their children. Written in 2015, the song relates to the decade as there were contemporary modernism aspects that showed how God had been essential by giving people skills and talent to earn (Brown and Barrett 1:00). The decade was characterized by popular culture that led to Gods almightiness.
God of Wonders by Mark Byrd and Steve Hindalong
Released during the start of the 2000s, the musical piece was a worship track dedicated to God due to His hand in aiding change in contemporary world matters (Hindalong 1:05). The song relates to the decade because God allowed key events that came as wonders, such as the Tsunami, Hurricane Katrina, and the nuclear race, that showed He is able ( Christian Church Worship Today para. 6). Thus, God showcased the worlds wonders, hence relating to what the composer sang about.
Hallelujah (Your Love Is Amazing) by Brenton Brown & Brain Doerksen
The meaning of Hallelujah, in this case, is God be praised and is commonly expressed when someone is rejoicing. The start of the 2000s decade, when the song was released, symbolized the powerful transformation by God in the coming years ( Hallelujah (Your Love Is Amazing) para. 4). The song relates to the decade as there were significant positive changes, such as the production of digital-centric materials for social interaction; hence, Gods power deserved to be acknowledged and praised.
Here I am to Worship by Tim Hughes
The songs composer was dedicated to worship every time as a result of Gods love for human beings. That shows peoples readiness to grow their nature of adoring God in truth and faith (Hughes 37). In that decade, churches expanded, and people started becoming more civilized in fundamentals that concerned spiritual matters. People in that timeframe had been pursuing church unity and disapproved promotion of the secular world.
Holy Is the Lord by Chris Tomlin & Louie Giglio
The song was produced in 2004, and the artists emphasized the sacredness of God. They sang to praise God, who altered the worlds welfare through His mighty hands. In the 2000s timeframe, people saw the hand of God in numerous ways, such as global advocacy for anti-terrorism ( Holy Is the Lord by Chris Tomlin Introduction para. 7). Thus, the society expressed the holiness by the nature in which issues were held by the Lord, who neutralizes all events.
How Great Is Our God by Chris Tomlin, Ed Cash & Jesse Reeves
The songwriters had seen Gods powerful manifestations in their lives. The track was released in 2004 when there had been enormous shifts in the digital revolution. The composers perceived that God was easing life for people to worship him (Tomlin 197). The song relates to the decade in that there was a need to declare the Lords mighty actions towards his people and, therefore, show the power of God.
Your Grace Is Enough by Matt Maher
In 2003, Maher wrote this song when he experienced spiritual suffering. Despite a hard time, he prayed for Gods grace to empower him to endure and defeat the temptations (Cowan 00:10). The track relates to the timeframe in that, despite the issues that the world faced then, such as economic sanctions, geopolitical tensions, and global rivalry, it was high time to call for Gods grace.
Conclusion
There is a significant difference between the 20th and 21st centuries in Christian praise and worship compositions. During the 1980s and 1990s, many artists wrote songs that were more of a spiritual bond and connection than prayer. On the contrary, the beginning of the 21st century marked a drastic change in terms of message and relevance. The decades from the 2000s were characterized by composers singing about the impacts that God has brought to the world. For example, Change My Heart, Oh God by Eddie Espinosa, which was produced in the 1980s, shows the writers desire to get devoted to God more than before. On the other hand, How Great Is Our God Chris Tomlin by Ed Cash & Jesse Reeves shows the composers feeling on the impact of Gods work.
If observed keenly, songs released in the 2000s appear to be thanksgiving, while those produced before evidently depict the spiritual desire to have a close relationship with God. Songs released in the 21st century have been characterized by special features such as melody alteration that give a different structure to the song, showing improved production compared to the earlier ones. An important concept to mention is the aggressive appreciation artists had versus the usage of the songs in the two timeframes. In the two eras, technology has played a key role in shaping their composition, and that is why the songs have a solid connection to God, who enabled the revolution. The songs in the 1980s and 1990s timeframes are more of prayer.
Works Cited
Akpagu, Praise. Blessed Be Your Name Matt Redman (Mp3 Downloads & Lyrics) Gospel Music Base, 2022, Web.
Barrett, Pat, and Anthony Brown. Good, Good Father. Com songs (2014). Capitol CMG Paragon/Common Hymnal Publishing/Housefires Sounds/sixsteps Music/Tony Brown Publishing Designee/Vamos Publishing/worship together.
Cowan, Nelson. History Of Hymns: Your Grace Is Enough By Matt Maher Discipleship Ministries, 2016, Web.
Hallelujah (Your Love Is Amazing) Jiosaavn, Web.
Hindalong, Steve. Story: God of Wonders. Crosswalk.Com, 2003, Web.
Holy Is the Lord by Chris Tomlin Introduction The Worship Initiative, Web.
Hughes, Tim. Here I Am to Worship. Regal Books, 2004.
Redman, Matt. Blessed Be Your Name. Readhowyouwant.Com Ltd, 2011.
Song Story: Forever By Chris Tomlin Crosswalk.Com, 2022, Web.
Tomlin, Chris. Chris Tomlin How Great Is Our God: The Essential Collection (Songbook). Hal Leonard, 2011.
The Love Song of J. Alfred Prufrock does not contain the glorification of the beloved, the rapture of the power of feeling expected from a love song. We cant even be sure that this song is dedicated to a particular lady. There is no portrait of a certain person in the poem, all the signs of femininity (hands, bracelets, skirts, shawls) are given in the plural, so we cannot say with complete certainty that they belong to Prufroks beloved. Instead, they create the impression of a hero revolving in female society, surrounded by women, and in this society, he feels himself a stranger. The Love Song seems to be a complaint of a middle-aged, lonely, hypersensitive person about the impossibility of love and simple mutual understanding. The protagonist does not dare to speak to a woman, but he confesses to the reader.
Prufrocks monologue is permeated with colloquial intonations, saturated with images that were considered impermissibly rude for poetry at the beginning of the century. It opens with a description of a city walk:
Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table;
Evening spread out like a patient etherized upon a table is not just an unusual metaphor. The author immediately introduces us into the world, as if under anesthesia, into the world of Prufrock, where the sensations of real-time and space are anesthetized and frozen. After this reduced sketch of the ugly, poor streets, the images of the real city disappear from the poem forever. Even quite real, unsightly streets become a way to move not in physical space, but in spiritual space. This spiritual space is the heros consciousness and subconsciousness, where fragments of his inner drama are played out, and the repetitive refrains set the form for the intermittent space of the poem.
Relation to Dantes Epigraph
These are the words of Count Guido da Montefeltro, who is punished for the sly advice he gave to Pope Boniface VIII. The count agrees to tell his story, confident that his listener will never return to the world of the living, and they will not know about his (the counts) shameful act on earth. A superficial parallel to Prufrocks intent is obvious. Prufrock also hesitates to sing his song, fearing that others will find out about his secret desires. But the epigraph from Dante carries another idea that is important for understanding the Eliot text. Before committing a sin, Guido repented. However, salvation did not come, and he ended up in Hell. This is where Eliots principled motive of inauthentic repentance arises: Prufroks confession is just as false as Guidos repentance. The image of the romantic hero whom he sees in himself is just a conventional mask, a stamp of the 19th-century culture.
Introduction: Persuasion through the Prism of Time
Talking about the impact that Jane Austen had on the English Romanticism takes hours. Jane Austin created a number of other works that touch upon not only personal, but also social and ethical issues. One of these works, Persuasion, is famous for the moral issues serving as the key themes of the novel.
Thesis statement
Despite the fact that Austin raises a wide range of social issues in Persuasion, Jane Austens novel actually revolves around two basic themes, i.e., persuasion and pride; making it clear that there is a close relation between the two, Austen shows graphically that the tortures of persuasion that the leading characters trap themselves and the people close to them into stem from their pride and inability to overcome the latter.
The Main Themes: Reading between the Lines
The trap of tautology: persuasion in Persuasion
As it follows from the title of the novel, persuasion actually is its major theme, which the entire plot revolves around; indeed, considering the motivations of each character closer, one will see inevitably that their actions have little to do with what the characters actually want.
Guided either by their own principles, as in case of Sir Elliot, or by the convictions of others, as in case of his daughter, the key female protagonist in the story, the characters act on the basis of what is believed by the society to be the best choice instead of analyzing their own feelings and doing what they think is best for them:
If I was wrong in yielding to persuasion once, remember that it was to persuasion exerted on the side of safety, not of risk. When I yielded, I thought it was to duty; but no duty could be called in aid here. In marrying a man indifferent to me, all risk would have been incurred, and all duty violated (Austen Chapter 23).
The given excerpt shows that, deluded by their own misconceptions, the characters in the novel were guided by persuasion instead of the call of their hearts, which made the characters unhappy.
For instance, persuasion rules the life of Anne, the leading female character mentioned above. Persuaded by her vain father and Lady Russell to reject the love of her life and choose a wealthier man as her husband, she is a rather complex character: I have loved none but you. Unjust I may have been, weak and resentful I have been, but never inconstant. (Austen Chapter 23).
Her rejection of Captain Fredericks love can be interpreted as either a result of her father and Lady Russells persuasion, and as a well thought-out step of a very strong-willed person, who has decided to sacrifice her own happiness for the sake of her relationships with her father and the ability to support her family later on, even though she realizes how ethically wrong it is.
Hence the conflict between ethics and moral duty appears, making Annes character even more complex: When I yielded, I thought it was to duty; but no duty could be called in aid here. In marrying a man indifferent to me, all risk would have been incurred, and all duty violated (Austen Chapter 23), she would explain later on to Mr. Elliot.
By saying this, Anne clarifies that she was not only under the persuasion of her father when being pushed into marrying the man whom she never loved. Instead, Anne was under the persuasion of her own, i.e., the delusion that her marrying someone according to her fathers will would be the right thing to do. Therefore, under the persuasion of her father and society regarding what her duty is, Anne decides to sacrifice her love.
It would be wrong to assume that Anne is the only character who acts under the guidance of persuasion. Her father can also be considered the victim of persuasion. The fact that Sir Walter is continuously forcing himself to do what his vanity accepts, he makes his daughter suffer.; however, after Sir Walter realizes that Anne would be much happier with Wentworth, he fights his persuasion successfully:
When he saw more of Captain Wentworth, saw him repeatedly by daylight, and eyed him well, he was very much struck by his personal claims (Austen Chapter 24).
Despite the fact that Sir Elliots vanity persuaded him to direct his daughters life the way which he considered right, he finally manages to see past his vanity. As a result, his persuasion subsides.
However, one person in the novel still manages to get out of the tight grip of persuasion and pride. This person is Frederick Wentworth, who finally manages to swallow his pride for the sake of his happiness:
This nut & while so many of its brethren have fallen and been trodden under foot, is still in possession of all the happiness that a hazel-nut can be supposed capable of (Austen Chapter 10). While his pride and convictions also rule his life, he finally manages to fight his persuasion and make the first step towards his reconciliation with Anne.
A matter of pride: where persuasion stems from
Perhaps, even the greatest writers tend to repeat themselves; once a certain issue has been raised in one of the novels, it can also be found in the rest of the creations. However, only the true masters of literature can weave these concepts into the story canvas without hurting the plot, the characters or any other relevant part of the novel.
Sir Walter is not the only character, whose pride hurts too much to take the right step; the rest of the characters are also tied with their decision to follow their mind instead of their heart and, therefore, suffer greatly. Austen makes it clear that in most cases, a hart-to-heart talk would have solved half, if not all, the complexities between the characters; however, each of them prefers silent pain.
One of the most graphic examples concerns Captain Frederick Wentworth and Anne Elliot. Austin makes it especially clear that these two characters only have to make a tiny effort; yet the wall of pride that they have built between each other keeps them safely alienated: I was proud, too proud to ask again (Austen Chapter 8), Wentworth confesses.
Whenever these two characters come to speak to each other, one can feel a tangible air of pretense and willingness to take a grip of ones emotions; yet they prefer suffering their pain instead of sacrificing their pride.
His cold politeness, his ceremonious grace, were worse than anything (Austen Chapter 8); however, Anna prefers to grind and bear it instead of explaining herself. Therefore, pride can also be considered the motif of the novel.
Conclusion: Silence! The Mind Speaks
Intertwined in a single motif, persuasion and pride seem the only basic themes in Jane Austens Persuasion; the novel could have been named Persuasion and Pride, for that matter.
While Austen also touches upon a range of important social issues, including the ones related to family, as well as the conflict between a persons desires and inclinations and his/her call of duty, and a number of other social issues relevant for the epoch portrayed in the novel, the focus is on the issue that have always been topical and will remain topical centuries later the conflict between ones heart and mind.
Ringing in every paragraph of the novel, persuasion as the key motivation of the characters and the resulting suffering clearly are the key motifs of the novel, and the compromise is its natural outcome.
Toni Morrison was born Chloe Anthony on February 18, 1931, in Lorain, Ohio (Ciabattari 1). She was a prominent editor and writer of her time. The Song of Solomon, published in 1977 is Toni Morrisons third novel. It proved to be hugely popular with both critics and readers alike. The novel revolves around the ultimate quest for self and its realization. It tells the story of the quest for cultural identity by its hero, Macon (Milkman) Dead III. In so doing, the novel reflects Morrisons desire to preserve African-American folklore, art, music, and literature (Chastain 779). The relationship between love for an individual and love for an ideology is explored well in the novel through the love of Macon for Hagar and the love of finding justice for African Americans. Hagars and Guitars expressions of love are different. The book itself is a swooping flight of imagination. It won both the National Book Critics Circle Award and the American Academy and Institute of Arts and Letters in 1977 (Haskins and Haskins 40). Morrison, as a novelist has always explored the definition of love from a philosophical viewpoint. She is known for creating characters whose love is interwoven with violence, destruction, or death (Bak 279). In the book, The Song of Solomon such an obsessive love is found in the passionate desire of Hagar and the friendly love of Guitar.
The novel begins with the scene of Robert Smith, an insurance agent leaping off the roof of Mercy Hospital wearing blue silk wings hoping that he will fly to the opposite shore of Lake Superior. He instead falls to his death. The next day, the first black child is born in Mercy Hospital, Milkman Dead to Ruth Foster Dead. Knowing that he cannot fly, Milkman grows up a very disinterested young man though he enjoys the love and care of his mother, aunt Pilate, and his sisters First Corinthians and Magdalene (called Lena). Milkman is not capable of reciprocating the love and kindness of the women around him and grows up bored and lacking compassion. In this emotional desert, Milkman forms two initially sustaining relationships, one with a schoolmate, Guitar, and one with Pilates granddaughter, Hagar.
In his ruthless pursuit of gold, Milkman, at the age of thirty-two, with the help of his friend Guitar Bains attempts to rob Pilate. But instead of gold he just finds some rocks and a human skeleton. He needed the funds to participate in the mission planned by the Seven Days, a secret society that tries to kill innocent white civilians to take revenge on the atrocities committed against the African-Americans. Searching for material prosperity, Milkman rejects the love of Hagar, who is driven mad by the rejection and tries to kill Milkman many times in her frustration at not being able to get his love. Later Milkman side-tracks and embarks on a voyage tracing family history. By the time he returns, Hagar is dead of a broken heart. Guitar, his companion on the journey in the quest for gold feels that Milkman might have cheated him of his share of gold and tries to kill him. Thus we find that both Hagar and Guitar try to kill him despite being very close and loving to him. Despite the similarity in trying to kill Macon, both of them differ in their styles of expressing their love.
Hagars passion often turns into murderous attempts against the Milkman. According to Hans Bak, while these weird representations of love seem to have psychological depth and sociological implications, Morrison is challenging her readers to think beyond conventional categories of intention and behavior to entertain the paradox of murderous or incestuous love (Bak 281). Hans Bak holds that Morrison seems to be proposing through social marginals such as Circe and Pilate that love and creativity can be found in unlikely places if we are willing to break free from the normal socially acceptable way of seeing and judging things and see things independently. In the last scene in Song of Solomon, Aunt Pilates takes the bullet that Guitar intends for Milkman.
As she lies dying in Milkmans arms, she says that I wish Id a knew more people. I would have loved em all. If Id known more, I woulda loved more (Morrison 336). Milkman on reaching maturity realizes that the only people who have truly loved him were both women, both black, both old (Morrison 331). He refers to the love of his mother and Pilate who had fought for his life. He also takes responsibility for Hagars loving him to death by accepting a box of her hair from Pilate. However, the most significant symbol of his manhood is his acceptance of the paradox represented by his best friend Guitars love. Milkman thinks to himself perhaps thats what all human relationships boiled down to: Would you save my life? Or would you take it? (Morrison 334) Only Guitar was exceptional. To both questions he would answer yes (Morrison 331). The paradox represented by Guitar is that good and evil, love and hate, life and death, ultimately end up being difficult to distinguish (Bak 283).
At age twelve, Milkman and his cousin, Hagar, get sexually involved. Hagar becomes emotionally dependent on Milkman as a result of this affair. But he chooses to break off their relationship one Christmas day by sending her money and a thank-you note. This sent Hagar spinning into a bright blue place where the air was thin and it was silent all the time, and where people spoke in whispers or did not make sounds at all, and where everything was frozen except for an occasional burst of fire in her chest (Morrison 99). Hagar almost has a parasitic love for Milkman and can only love herself in the reflected light of his false love. When Milkman breaks up with Hagar, she feels lost and her world is shattered. Her love is transformed into a potent rage that provokes her to kill Milkman. When Milkman leaves, Hagar turns the attention onto herself and eventually dies of heartbreak when she realizes that Milkman is, &never going to like my hair. (Morrison 316)
How can he not love your hair?& Its his hair too. He got to love it. He dont love it at all. He hates it. (Morrison 315). This last comment is uttered by a dangerously mentally ill Hagar Dead to her mother Reba and her grandmother Pilate. In the passage, grandmother, mother, and daughter discuss whether Milkman, the novels central character, likes Hagars hair. Pilates asks how it can be possible for Milkman to love himself and hate Hagars hair. But Hagar is certain that Milkman is only attracted to women with distinctly European features and insists, with deadly finality that he is never going to approve of her hair. African-Americans have a distinct type of hair that does not blend with the European or white ideal of beauty. According to Angela M. Neal and Midge L. Wilson (328): Compared to black males, black females have been more profoundly affected by the prejudicial fallout surrounding issues of skin color, facial features, and hair . In the context of Hagar, Morrison engages the black females struggle between her hairstyle preferences and the female hairstyle preferences of the black male. Shortly after Milkman writes Hagar a thank you note ending their relationship, Hagar decides to murder him. The thank you hurt Hagar, but she only becomes murderous when she spots Milkman sitting in Marys, smiling at and talking to a woman whose silky copper-colored hair cascaded over the sleeve of his coat (127).
Later, when she finds that she cant bring herself to kill Milkman, she decides to become the woman with the copper-colored hair, reasoning that the copper-colored ideal is what Milkman wants in a woman. No wonder. No wonder, Hagar reasons as she attempts to determine the reason that Milkman wont love her. I look like a ground hog. Wheres the comb? (308-09). After a frantic search for the comb, along with her first bath in days and a trip to the beauty shop, Hagar is intent on winning Milkman back by dressing in stylish clothes and making her hair attractive to him. Shes certainly attempting to let her hair work its magic on him, but it is also obvious that shes submitting to the power males have over women and their hair.
Michael Awkward argues that Hagar reflects more of societys views on women. This acceptance is reflected partially in her wholehearted adoption of its ideas of female beauty. (493) the silky hair, the penny-colored hair, the lemon-colored skin, and the gray-blue eyes . Hagar is trapped between her African physical features and the white-female ideal of beauty. She is perfectly aware of the priority men like Janies first two husbands and the man who was observed stroking Janies hair in the store place on female hair, and Hagar is also well aware that she doesnt quite measure up. That awareness, among other things, leads to her death (Ashe 579). Through Hagar, Morrison explores the theme of passionate love and the mixed ideology of beauty and grace.
Another relationship that is used to explore love and ideology is the special friendship that develops between Guitar and Milkman. The guitar is more of a guide and mentor to Milkman and he is also a friend show is wise and kind and fearless. Above all, Guitar also seems to fill in the place of Milkmans father as Milkman declares Guitar to be the only sane and constant person in his life. He spends a lot of time with Guitar and finds him to be a willing listener and an understanding friend. The guitar is sensitive to the feelings of Milkman when he tells him, Looks like everybodys going in the wrong direction but you, dont it? . He encourages Milkman to assume responsibility for his own life. You got a life? Live it! he tells him. However, Guitar is also dangerous because of his links with Seven Days, a vigilante group. He does not have the spirit of forgiveness and the love of humanity.
He has a deep hatred of whites as a result of his fathers brutal death at the hands of whites. He is also very deeply insecure and paranoid and is not able to trust anyone including his best friend. When Macon evicts Guitar for back rent, he holds Milkman responsible and considers it a breach of their friendship. When he accompanies Milkman to search for the lost gold, he does not trust him bust says Im nervous. Real Nervous. Convinced that Milkman has betrayed him, he decides to kill him and paradoxically, he reveals his intention to kill Milkman. When Milkman asks why he has chosen to tell him, Guitar responds, Youre my friend. Its the least I could do for a friend. Thus Guitar seems to be torn between commitment to his friendship and his membership in the Seven Days. Through his predicament, Morrison explores love in a different dimension and ideology of racism.
Morrison uses Milkmans relationship with Hagar to illustrate the detrimental effects of male/female relationships that result when in romantic love one willingly loses the true self in the name of love. Initially, Milkman is shown as the aggressor, and Hagar the reluctant prize. However, Milkman soon becomes very important to Hagar. She tells Ruth that Milkman is my home in this world . She opens herself to him and by the twelfth year, Milkman has grown bored with her accessibility: He didnt even have to pay for it. It was so free, so abundant, it had lost its fervor. There was no excitement, no galloping blood in his neck or his heart at the thought of her ; In the eyes of Milkman, Hagar meant nothing: She was the third beer. Not the first one, which the throat receives with almost tearful gratitude; nor the second, that confirms and extends the pleasure of the first. But the third, the one you drink because its there, because it cant hurt, and because what difference does it make (Morrison 320). Hagar had confused love with possession and desired to own him even if it meant killing him. Similarly, Guitar confuses friendship with black militancy.
The guitar is older than Milkman and street-smart and he protects Milkman. The main feature of Guitar is that he hated the whites in the name of love of black people: What Im doing aint about hating white people, Guitar tells his friend, Its about loving us. About loving you. My whole life is love. Thus Guitar is a man who is confused between the very concepts of love and hate. In pledging his whole life to the universal love of all black people, Guitar is unable to claim a more personal love of Milkman. The secrecy of his work isolates him and precludes intimacy. The guitar is forced to cross the boundaries of morality and rationality in his pursuit of gold and street justice (Bloom 65).
Hagar expresses her love for Milkman through her focus on looks. Look at how I look. I look awful. No wonder he didnt want me. I look terrible (Morrison 312). Hagar has a black urban, northern working-class look with a strong attachment to the rural south. Her boyfriend on the other hand is the progeny of the urban black middle class. When Milkman rejects her Hagar decides that to hold on to him, she must make herself into a less black woman. What Hagar does not understand is that Milkmans indifferent attitude is an expression of his primary sexism as well as his internalized acceptance of the larger societys racist measure of blacks in terms of how closely an individuals skin and hair approximates the white model (Willis 114).
Hagar thus accepts her rejection as a personal affront and tries to solve it through consumerism. Hagar appears before her mother and grandmother decked in new clothes and cosmetics she has hauled home through a driving rainstorm: her wet ripped hose, the soiled white dress, the sticky, lumpy face powder, the streaked rouge, and the wild wet shoals of hair (Morrison 318). If Hagar succeeded in acquiring the look she strived to get, she would look like a black mimicry of a white cultural model. However, looking grotesque and pitiful, Hagar is the sublime manifestation of the contradiction between the ideology of consumer society that would have everyone believe that we all trade equally in commodities and the reality of all marginalized people for whom translation into the dominant white model is impossible (Willis 115).
The theme of love helps in accelerating the story of Toni Morrisons Song of Solomon. Hagar expresses her love for Milkman through her focus on physical aspects such as hairstyle, cosmetics, and dresses. But negates the positive aspects of love through her aggressively possessive nature. Guitar, as a friend, expresses his love for Milkman through his wise words of advice and consolation. However, he too negates the positive aspects of the friendship by ultimately getting ready to kill him. Both Hagar and Guitar are similar in their inner levels of insecurity. It is their insecurity that makes them behave so violently. Both of them are not able to trust Milkman. For ideology, the black feminist stereotype versus the white model ideology disturbed Hagar whereas the ideology of taking revenge by hating whites disturbed Guitar. Hagar dies of a broken heart whereas Guitar aims Milkman to kill him. It is Milkman who can empathize with both Hagar and also with Guitar and forgive their transgressions. You want my life? Milkman calls out to Guitar in the aftermath of the shooting. You want it? Here. Milkmans tearful offer of himself demonstrates how much he valued love. In the case of Hagar, by accepting the box containing her hair, he shows he values her love for him as well. Thus both, Hagar and Guitar can be considered as successful in making Milkman feel their love, though its a destructive one.
Works Cited
Ashe, D. Bertram (1995). Why Dont He like My Hair? : Constructing African-American Standards of Beauty in Toni Morrisons Song of Solomon and Zora Neale Hurstons Their Eyes Were Watching God.. African American Review. Volume: 29. Issue: 4. 1995. Page 579+.
Awkward, Michael (1990). Unruly and let loose: Myth, Ideology, and Gender in Song of Solomon. Cited Callaloo 13 (1990): 482-98
Bak, Hans (2004). Uneasy Alliance: Twentieth-Century American. Rodopi Publishers.
Bloom, Harold (1999). Toni Morrisons Song of Solomon. Chelsea House Publishers. Philadelphia. 1999.
Chastain, Emma (2004). Literature. Spark Educational Publishing. 2004.
Ciabattari, A. Nancy (1996). Toni Morrisons Song of Solomon. Research and Education Association: Toni Morrison. 1996.
Haskins, James and Haskins, Jim (2001). Toni Morrison: Magic of Words. Millbrook Press. 2001.
Morrison, Toni (1977). Song of Solomon. Knopf Publishers. New York.
Neal, Angela M., and Midge L. Wilson. The Role of Skin Color and Features in the Black Community: Implications for Black Women and Therapy. Clinical Psychology Review 9 (1989): 323-33.
Willis, Susan (1991). A Primer for Daily Life. Routledge Publishers. New York.
Women are valuable members of society as they ensure the character development of their children. They care for the children right from the early developmental stages. The mother also immensely contributes to the success of the father. The conspicuous void left when the mother is away cannot be filled by anyone else. Both the children and the husband will definitely miss her because she is the epitome of their comfort and sustenance.
The Mother Return by Dorothy Wordsworth is a highly sensational poem. It talks about the great bond between children and their mothers. This is evidenced by the high sense of expectancy expressed by the son when the persona reveals that their mother, whom they have missed for a whole month, is about to return. The boy cannot wait for tomorrow. He needs to see the mother immediately! The poem foregrounds the pivotal role played by the mother and the extent to which her absence can disturb the childrens minds. Ironically, the persona does not encourage the boy but tells her the mother is far away. This, however, does not weigh down the boy. He keeps hoping for the mothers return.
The song, Oh mother by Christina Aguilera is a great appreciation of the singer for the great upbringing from her mother. She immensely appreciates the pain and suffering persevered by her mother to make her who she is. The mother had tackled the challenges in a way that left the singer stronger. She argues strongly in defense of the mother asserting that the mother is the one who will sick closer even if everyone in the world neglected you.
Both the song and the poem echo the idea of appreciating the mother. Whereas the poem gives welcoming remarks to the mother and invites her to revert to her rightful position and role in the family, the song offers gratitude for the role she has already played. The personas in both cases yearn for the mothers company and abhor anything that would separate them. Mothers go through a lot to ensure their children have a bright future. Due to this fact, Christina really appreciates her mother for her womanly act of taking care of her well. As the song begins, it seems the persona is addressing the mother just shortly before her return. It is only later in the song that we discover that as soon as the mother returned, the persona sang this song to welcome her. This aspect of parallelism in both the poem and the song shows that the mother in both cases had been away from the children and this culminates into a great urge for a reunion. That is why the mothers return in the poem calls for a celebration.
And she tomorrow will return/ tomorrow is the happy day (Wordsworth 3-4).
Since the first words of the song are in the past tense, it could be predicted that the mother is perhaps dead.
She was so young with such innocent eyes, she always dreamt of a fairytale life (Aguilera 2-3).
However, we later learn that this is not the case. The mother lives on and continues to care for her precious daughter. From the theme of the song, we can comfortably say that the predictions made are only imaginative. The first line does not give any hint of the mother returning the same day. This is different from the poem where the first line is in the past giving possible allusion to the mothers death.
A month sweet little one is past/ since your dear mother went away (Wordsworth 1-2).
Unlike in the song, the use of the past tense in the poem is of little impact. We cannot confusedly say that the mother is dead from the phrase went away because our hope for her return is ignited almost immediately in the subsequent lines. The mother is greatly missed in the poem heightening the hope for her return and the desire for a family reunion.
The language that the poem uses is easy to understand and the events are recounted in chronological order. One is first introduced to the duration when the mother was away and then tipped on what will become of the family on her return. The song uses communicative language and has an emotional touch brought about by the tears the mother has to shed and the difficulty with which she raises the singer. The singers sense of appreciation and gratitude to the mother is also something I find highly efficacious. The poet progressively utilizes figurative language. Similes and metaphors are tactfully employed to foreground the joy that the mothers return brings to the family.
A month sweet little ones are passed/ since your dear mother went away (Wordsworth 1-2).
However, the poetic license to shorten words has caused the negative effect of compromising the readers comprehension of the poem.
We told oer all that w had done (Wordsworth33).
This use of syncope as a style in the word oer to mean over can be confusing to some readers and therefore does more harm than good.
Although the song is written in simple language that everyone can understand,
She was so young with such innocent eyes/ she always dreamt of a fair life/ and all the things that your money can buy (Aguilera 2-4).
It also contains complex styles that may hinder audience comprehension. Moreover, its literariness is questionable since it recounts events in a straightforward way that is not characteristic of literature. This brings it closer to prose than poetry. In comparison, the language of the poem is quite more complex than the song. However, the poems use of similes and metaphors to emphasize foregrounds its literariness.
Her joy is like an instinct joy/ of kitten, bird or summer fly (Wordsworth 21-22).
Instead of the poet addressing the kids to explain the mothers return, it would make much more sense if the father and the mother were addressed for being away and then celebrating the family reunion. Appreciation and praise of the mother makes her proud of her role in the family. If I were the mother, I would not neglect my children for that long. I would rather be present to make sure they are brought up well. The authors aim for writing this song is for the family members to appreciate the significance of the mother. The authors praise for the mother is thus justified.
When the mother returns, joy would fill the family, O blessed tidings! (Wordsworth 5).
The fact that the kids wait eagerly for the mother will make her happy on her return. She will be delighted to hear a song sang in her praise. Indeed the efforts of the mother to raise the kids deserve praise.
O mother we are stronger/ from all the tears that you have shed (Aguilera 10-13).
The sadness of the children caused by the mothers absence will culminate into merry making when she finally returns. Although her return should be a joyous moment, the mother is also to blame for the childrens emotional torture. However, the somber mood of the children will change into a joyous one when she arrives.
Mothers need to know the essential family roles that they have to play. They are the major unifying factor in the family. However, they should serve their children for their good future, without necessarily expecting anything in return. They should not abandon children at tender age. In the article, The power of a moms Love. By Laurie Cameron, we find a mother who despite her childs disability and societal neglect, she does her best to secure a good future for the child by looking at the child positively. Due to this experience, she goes further to extend a hand of help to other special needy children in the society.
By now, Laurie is ill in as a mother dedicated to helping not only Luke but other special needs children- and their parents. She left Fortune five years ago, and since then, she has bubbled over with ideas (Nocera 2).
Both the poem and the article explain the role of the mother in the family. We are what our mothers made us to be in our toddlerhood, and they remain to be our heroes. Responsible motherhood is a key element in the family that should be embraced by all mothers. All members of the family should also offer gratitude to the mother for her efforts. The persona in the poem makes the children sad by saying the mother is still far away and her arrival is tomorrow, not today. Even though the mother might sometimes be away for valid reasons, her absence should not be prolonged. Whether the children are disabled or not they need unconditional love from the mother. Our mothers took care of us to reach where we are and they deserve appreciation. The song rightly educates those who disregard the fact that their mothers contributed immensely for their upbringing.
Women are valuable members of society as they ensure the character development of their children. They care for the children right from the early developmental stages. The mother also immensely contributes to the success of the father. The conspicuous void left when the mother is away cannot be filled by anyone else. Both the children and the husband will definitely miss her because she is the epitome of their comfort and sustenance.
The Mother Return by Dorothy Wordsworth is a highly sensational poem. It talks about the great bond between children and their mothers. This is evidenced by the high sense of expectancy expressed by the son when the persona reveals that their mother, whom they have missed for a whole month, is about to return. The boy cannot wait for tomorrow. He needs to see the mother immediately! The poem foregrounds the pivotal role played by the mother and the extent to which her absence can disturb the childrens minds. Ironically, the persona does not encourage the boy but tells her the mother is far away. This, however, does not weigh down the boy. He keeps hoping for the mothers return.
The song, Oh mother by Christina Aguilera is a great appreciation of the singer for the great upbringing from her mother. She immensely appreciates the pain and suffering persevered by her mother to make her who she is. The mother had tackled the challenges in a way that left the singer stronger. She argues strongly in defense of the mother asserting that the mother is the one who will sick closer even if everyone in the world neglected you.
Both the song and the poem echo the idea of appreciating the mother. Whereas the poem gives welcoming remarks to the mother and invites her to revert to her rightful position and role in the family, the song offers gratitude for the role she has already played. The personas in both cases yearn for the mothers company and abhor anything that would separate them. Mothers go through a lot to ensure their children have a bright future. Due to this fact, Christina really appreciates her mother for her womanly act of taking care of her well. As the song begins, it seems the persona is addressing the mother just shortly before her return. It is only later in the song that we discover that as soon as the mother returned, the persona sang this song to welcome her. This aspect of parallelism in both the poem and the song shows that the mother in both cases had been away from the children and this culminates into a great urge for a reunion. That is why the mothers return in the poem calls for a celebration.
And she tomorrow will return/ tomorrow is the happy day (Wordsworth 3-4).
Since the first words of the song are in the past tense, it could be predicted that the mother is perhaps dead.
She was so young with such innocent eyes, she always dreamt of a fairytale life (Aguilera 2-3).
However, we later learn that this is not the case. The mother lives on and continues to care for her precious daughter. From the theme of the song, we can comfortably say that the predictions made are only imaginative. The first line does not give any hint of the mother returning the same day. This is different from the poem where the first line is in the past giving possible allusion to the mothers death.
A month sweet little one is past/ since your dear mother went away (Wordsworth 1-2).
Unlike in the song, the use of the past tense in the poem is of little impact. We cannot confusedly say that the mother is dead from the phrase went away because our hope for her return is ignited almost immediately in the subsequent lines. The mother is greatly missed in the poem heightening the hope for her return and the desire for a family reunion.
The language that the poem uses is easy to understand and the events are recounted in chronological order. One is first introduced to the duration when the mother was away and then tipped on what will become of the family on her return. The song uses communicative language and has an emotional touch brought about by the tears the mother has to shed and the difficulty with which she raises the singer. The singers sense of appreciation and gratitude to the mother is also something I find highly efficacious. The poet progressively utilizes figurative language. Similes and metaphors are tactfully employed to foreground the joy that the mothers return brings to the family.
A month sweet little ones are passed/ since your dear mother went away (Wordsworth 1-2).
However, the poetic license to shorten words has caused the negative effect of compromising the readers comprehension of the poem.
We told oer all that w had done (Wordsworth33).
This use of syncope as a style in the word oer to mean over can be confusing to some readers and therefore does more harm than good.
Although the song is written in simple language that everyone can understand,
She was so young with such innocent eyes/ she always dreamt of a fair life/ and all the things that your money can buy (Aguilera 2-4).
It also contains complex styles that may hinder audience comprehension. Moreover, its literariness is questionable since it recounts events in a straightforward way that is not characteristic of literature. This brings it closer to prose than poetry. In comparison, the language of the poem is quite more complex than the song. However, the poems use of similes and metaphors to emphasize foregrounds its literariness.
Her joy is like an instinct joy/ of kitten, bird or summer fly (Wordsworth 21-22).
Instead of the poet addressing the kids to explain the mothers return, it would make much more sense if the father and the mother were addressed for being away and then celebrating the family reunion. Appreciation and praise of the mother makes her proud of her role in the family. If I were the mother, I would not neglect my children for that long. I would rather be present to make sure they are brought up well. The authors aim for writing this song is for the family members to appreciate the significance of the mother. The authors praise for the mother is thus justified.
When the mother returns, joy would fill the family, O blessed tidings! (Wordsworth 5).
The fact that the kids wait eagerly for the mother will make her happy on her return. She will be delighted to hear a song sang in her praise. Indeed the efforts of the mother to raise the kids deserve praise.
O mother we are stronger/ from all the tears that you have shed (Aguilera 10-13).
The sadness of the children caused by the mothers absence will culminate into merry making when she finally returns. Although her return should be a joyous moment, the mother is also to blame for the childrens emotional torture. However, the somber mood of the children will change into a joyous one when she arrives.
Mothers need to know the essential family roles that they have to play. They are the major unifying factor in the family. However, they should serve their children for their good future, without necessarily expecting anything in return. They should not abandon children at tender age. In the article, The power of a moms Love. By Laurie Cameron, we find a mother who despite her childs disability and societal neglect, she does her best to secure a good future for the child by looking at the child positively. Due to this experience, she goes further to extend a hand of help to other special needy children in the society.
By now, Laurie is ill in as a mother dedicated to helping not only Luke but other special needs children- and their parents. She left Fortune five years ago, and since then, she has bubbled over with ideas (Nocera 2).
Both the poem and the article explain the role of the mother in the family. We are what our mothers made us to be in our toddlerhood, and they remain to be our heroes. Responsible motherhood is a key element in the family that should be embraced by all mothers. All members of the family should also offer gratitude to the mother for her efforts. The persona in the poem makes the children sad by saying the mother is still far away and her arrival is tomorrow, not today. Even though the mother might sometimes be away for valid reasons, her absence should not be prolonged. Whether the children are disabled or not they need unconditional love from the mother. Our mothers took care of us to reach where we are and they deserve appreciation. The song rightly educates those who disregard the fact that their mothers contributed immensely for their upbringing.
The Song dynasty is credited with a majority of the critical technological advancements of ancient China. Most individuals who contributed to the technological developments were gifted statesmen. The government used imperial examinations to identify talented people. Granet (2013) posits, The ingenuity of advanced mechanical engineering had a long tradition in China (p. 40).
Engineers from the Song dynasty borrowed ideas from the developments made by ancient inventors and astronomers. The knowledge acquired from woodblock printing enabled them to develop the first movable type. Besides, the Song dynasty invented gunpowder that marked the commencement of the production of sophisticated weapons. Other notable technological advancements that had significant impacts on human civilization were in the fields of metallurgy and nautics. This paper will discuss the technological advancements of the Song dynasty and their influences on human civilization.
The Song Dynasty
The Song dynasty existed between 960 and1279, which is about 319 years ago (Von Glahn, 2011). The regime is credited with the invention of some of the most critical technologies that are useful today. However, a majority of the techniques were not refined during the time of the dynasty. The Chinese used the technologies in their crude form. Over time, people improved their techniques and applied them to enhance their life. Some technologies that the Song dynasty invented included the movable type and gunpowder among others.
Printing via Movable Type Machine
The Song dynasty is associated with the development of mass printing that is still in use to date. The regime invented movable type that facilitated the mass production of books (Deng & Zheng, 2015). A study of the genesis of books indicates that even though writing had existed for a long time, it was concentrated around a few intellectuals. Most of the population was illiterate because reading and writing were preserves of the elite (Granet, 2013).
The invention of movable type led to many people developing an interest in studies. Parents started encouraging their children to learn how to read and write. The production of books meant that people could access intellectual materials. Eventually, a lot of Chinese enrolled in studies leading to an increase in the number of scholars (Granet, 2013). Von Glahn (2011) argues that the invention of movable type resulted in the development of money. The Song dynasty could print money and use it for trade.
Nautics
According to Schirokauer and Brown (2012), the Song dynasty had experienced sailors who traveled to different parts of the world. They made sure that their ships were well-equipped to facilitate the voyage. The desire of sailors to explore the world led to the development of the directional compass. Later, the Song dynasty invented the magnetic compass that made navigation easy. For a long time, sailors had relied on the position of the moon and the sun to determine the bearing.
Additionally, they depended on the polestar for direction. It became hard for sailors to travel at night, particularly when they could not see the stars or the moon. The magnetic compass made it easy for people to find the way, therefore enhancing trade between the Song dynasty and other empires. Additionally, it facilitated navigation, enabling people to explore new worlds.
The Song dynasty mastered the art of building ships that could carry a lot of goods and individuals. Sun (2015) wrote, The new technologies enhanced the maritime culture in the Song dynasty and across the globe (p. 56). The government started using ships to offer transport services. Besides, people began to make private shipping vessels. The experience in maritime that engineers from the Song dynasty had enabled them to build efficient vessels dubbed paddle-wheel ships.
The construction of the ships helped to reinforce the military in times of war. For instance, the Song dynasty used paddle-wheel ships in the Battle of Tango. Sun (2015) claims that the development of paddle-wheel ships marked the onset of the production of warships. Besides, the Chinese had other uses for the ships. Schirokauer and Brown (2012) allege that they were used as tugboats. According to Deng and Zheng (2015), the construction of paddle-wheel ships paved the way for the development of modern vessels.
The invention of the Gunpowder
The Song dynasty invented gunpowder in the twelfth century. The regime wanted to come up with protective measures to guard it against aggressive neighbors. The Song people developed explosive bombs which they used to attack ships of their enemies. The invention of gunpowder led to the development of guns. The dynasties that had guns were superior and feared by their enemies. Deng and Zheng (2015) maintain that the invention of gunpowder was a turning point in the art of war. The Song dynasty used the powder to overcome the Mongols who used to attack China. After defeating the Mongols, the Chinese came up with numerous gunpowder-based weapons including grenades and cannons.
Culp (2016) argues that gunpowder was a coveted product across the globe. Its demand led to the rise of trade between China and European countries. In the mid-15th century, the first handgun was made resulting in the surfacing of a new class of soldiers. Today, gunpowder is used to make a majority of modern weapons. The invention of gunpowder ushered in new developments. Culp (2016) argues that the development of the car engine was a result of the invention of gunpowder.
Metallurgy
The Song dynasty borrowed the art of metallurgy from other empires such as the Han administration. They perfected the art and introduced new methods that aided the production of inhomogeneous steel (Culp, 2016). The modern processes that are used to create steel can be traced back to the Song dynasty. The regime needed to reinforce its military. Besides, the demand for steel was high in the global market.
Thus, they had to come up with novel ways to boost the production of steel. The invention of the art of metallurgy led to the growth in agriculture. The dynasty manufactured many agricultural tools that enhanced farming. Besides, metallurgy resulted in the production of various cooking utensils that are in use today. Culp (2016) claims that the manufacture of steel promoted the industrial revolution. Steel was used to build machines that fueled industrial growth. Today, steel is among the most significant building materials. The contemporary civilization uses it to construct buildings. Besides, it is used to make industrial machines as well as ships.
Inventions in Medicine and Agriculture
The Song dynasty conducted numerous researches in the medical field that helped to determine the causes of various illnesses and their treatment. Deng and Zheng (2015) allege that the dynasty established various learning institutions that facilitated research.
The Song emperors encouraged scholars to carry out research within the precinct of the palace. Besides, individuals who showed interest in studying medicine were invited to specialize in disciplines such as pediatrics, dentistry, ophthalmology, and acupuncture among others (Von Glahn, 2011). The modern society uses some of the medical advancements made by the Song dynasty to treat diseases. For instance, doctors use acupuncture to assist patients who suffer from agonizing pain.
The Song dynasty invented many farming methods that helped to boost food production. In Southern China, the Song people practiced crop rotation. Von Glahn (2011) maintains that crop rotation contributed to preserving soil fertility, thus guaranteeing a bumper harvest. The Song people came up with methods of propagating seedlings. The seedbed used to raise seedlings these day was an invention of the Song dynasty.
The Song people invented different methods of tilling the land and domesticated many varieties of fruits and vegetables. Numerous scholars wrote books about fruit and tree planting. The books were helpful in cultivating fruits and trees like oranges and pine respectively. The Song dynasty developed agricultural practices that ensured food security. Besides, they came up with different varieties of rice that were drought-resistant (Culp, 2016, p. 23).
Conclusion
The Song dynasty played a significant role in technological advancement. Numerous developments achieved during the regime helped to shape human civilization. The manufacture of the movable type contributed to the publishing of books. In return, many people enrolled in schools leading to the rise in the number of intellectuals. Advancements in nautics opened the oceans making it easy for people to navigate and explore different continents. Additionally, the development of paddle-wheel ships facilitated trade. Later, engineers borrowed knowledge from the vessel which was vital in the elaboration of contemporary ships.
he invention of gunpowder revolutionized the art of war. It also facilitated the development of the car engine. The art of metallurgy played a significant role in the industrial revolution. The Song dynasty made numerous advancements in the medical field that promoted the treatment of different diseases. Knowledge acquired during the regime helped to revolutionize the medical field. Besides, the Song people domesticated numerous varieties of crops. They came up with types of plants that were drought-resistant, thus guaranteeing food security.
References
Culp, J. (2016). Ancient Chinese technology series: Spotlight on the rise and fall of ancient civilizations. New York, NY: Rosen Publishing Group.
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Identity encompasses the unique signature that differentiates different works of literature. Essentially, this identity can be utilized to differentiate different works originating from different authors. Jack Turner is an author that has created an identity for himself, by not only writing interactive works on wildlife but also incorporating various figures of speech and questions into his work. The Song of the White Pelican encompasses one of the essays making up the bulk of his book The abstract Wild . In this essay, he provides a clear examination of the Pelicans, while at the same time posing various questions to his audience. This is aimed at maintaining their interest, as well as advocating for radical environmentalism, a phenomenon hardly understood by most people (Turner, p. 102). Though Jack turner explores the lives of pelicans, he incorporates various figures of speech and questions to The song of White Pelicans, with the aim of eliciting a specific reaction from his audience.
Jack Turner wrote this piece of literature, with the aim of ascertaining the rarity of hearing or seeing pelicans. In the piece, he declares that pelicans soar at a height of 19,000 feet, making it difficult for people to see or hear them. Research conducted by many birders and biologists shows that hardly any form of sound can be attributed to pelicans. This elicits the indication that hearing or seeing a pelican, is a rare feat to be cherished. Essentially, Jack turner is an advocator of radical environmentalism that works towards the reduction of human interactions with the wild. This aids in according wildlife the freedom essential for coexisting in their diverse habitat. To symbolize the freedom elicited from minimal human interactions with the wild, Jack turner utilizes the symbol of soaring Pelicans (Turner, p. 107). This soaring culminates in ascertaining the rarity of hearing or seeing pelicans, which in turn verifies the need for maintaining levels of contact between human beings and wildlife.
Before according the audience with this realization, he asks such questions as what are they doing up there? Soaring. Clacking. Yes, but why? (Turner, p. 105). Such a question is aimed at retaining the audiences attention, while at the same time encouraging them to read more to discover the hidden answers. Inherently, the questions are utilized to direct the flow of ideas, to avoid a poor flow of ideas as witnessed in such long essays as this. As such, the essays intended audience encompasses all people interested in mass tourism, as it elucidates the importance of according wildlife with surmountable freedom. Additionally, it is intended for an audience that can support the advocacy for radical environmentalism.
The essays tone is authoritative. This is because the author asserts his authority by propounding facts about pelicans that are hardly in existence in other peoples jurisdictions. His experience with the rarity of hearing and seeing pelicans accords him with the authority to advocate for radical environmentalism, to preserve the pelicans freedom. As such, he utilizes such repetition as are faint, so faint to ascertain that pelicans make faint sounds invisible to mere mortals (Turner, p. 110). Essentially, the Essays authoritative tone can be elucidated from the various questions posed by the author. In essence, the highest number of questions posed can only be answered by the author.
Jack Turner focuses on the provision of a closer and detailed understanding of pelicans lives. He uses their way of life to advocate for radical environmentalism. The soaring of pelicans symbolizes the level of freedom to be accorded to the pelicans. To assert such observations, he uses questions, as well as figures of speech. From the above assertions, it can be concluded that though Jack turner explores the lives of pelicans, he incorporates various figures of speech and questions to The song of White Pelicans, with the aim of eliciting a specific reaction from his audience.
Work Cited
Turner, Jack. The Abstract Wild. Tucson: Univ. of Arizona Press, 1999. Print.