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 woman’s 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 employer’s 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 God’s 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 Isaiah’s, “They will build houses and dwell in them; they will plant vineyards and eat their fruit” (Isaiah 65:21). This is an indication that God’s 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. Mullin’s Awesome God communicates perfectly due to the global changes that had started taking root hence, changing people’s 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 decade’s 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 people’s 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 people’s 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 God’s greatness in application to the world.
He Is Exalted by Twila Paris
The song “He Is Exalted” referred to Jesus’s 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 God’s word.
I Will Call upon the Lord by Michael O’Shields
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 God’s 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.
You’re 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 people’s 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 God’s 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 God’s 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 Christ’s 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 God’s 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 God’s 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 world’s 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, God’s power deserved to be acknowledged and praised.
Here I am to Worship by Tim Hughes
The song’s composer was dedicated to worship every time as a result of God’s love for human beings. That shows people’s 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 world’s 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 God’s 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 Lord’s 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 God’s 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 God’s 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 writer’s 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 God’s 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 essay is a critical examination of good versus evil in The Song of Roland. This piece of literal work is one of the oldest arts from French literature. There are numerous versions which attest to how popular it was between 12th and 14th centauries. This poem has been seen to be a major example of chanson de geste, which celebrates the life of a hero.
Additionally the story is based on the conflict and the warfare between the Christians and the Muslims in Spain. In order to experience good and evil, there must be heroes and villains. War is seen to be a great thing and even glamorous. However the cost associated with it is usually heavy especially for the heroes. On the other hand, the villains deserve no grief or compassion.
Good is usually thought to be the will of God and in this case the Franks are deemed to represent good since they are moved by the will of God while the Saracens are seen to be evil. Due to this when they die there souls are taken to hell by the devil.
For one to be evil can be as results of lack of knowledge making one to be deceived and to act against the will of God. In The Song of Roland, a proof that lack of knowledge leads to evil is summarized as follows “o est une gent ki unches ben ne volt. [This is a sort of which has never seen goodness]” (Haidu par. 7).
The Christians while fighting with the pagans were of the opinion that they were on the right while the later were in the wrong. To the French, the pagans are evil and criminal individuals who have rejected Christ from whom all those things deemed good come from. For that matter they are to be confronted translating to a war between individuals who were fighting for God and Satan (Dominik 21).
Similarly evil is depicted in several occasions in the poem. For instance we are told of the evil planned of King Marsile who intends to convert into Christianity then become Charlemagne vassal. This is with a clear intention that once the later goes back to France Marsile will break the promise he made. Additionally, the plans Roland’s step father had when he was sent for a diplomatic mission was in itself an evil strategy to get rid of Roland who the formers saw to be a threat in terms of leadership.
He thus planned with the Saracens that the rearguard of Charlemagne will be ambushed and this will be a perfect opportunity to get rid of Roland (Dominik 49). According to the poem, the reaction of King Charlemagne to drive the Saracens towards the river so that those who were not chopped would definitely be drowned although to them was good; it was an evil act in my humble opinion.
It is worth noting that all that are thought to be good will always thrive in the end. It is no doubt that the all powerful God will intervene in time to ensure that those fighting for the good emerge as victors in the end. This can be exemplified when Thierry who was less strong than Pinabel managed to fight him in order to decide the case in which Roland step father was to be put to death (Haidu par.5). In my opinion the concept of good versus bad has been clearly brought out in the French oldest literature The Song of Roland.
Works Cited
Haidu, Peter. The Subject of Violence: The Song of Roland and the Birth of the State. Bloomington, Indiana: Indiana University Press, 1993. Print.
Dominik, Mark. Holy War in The Song of Roland: The Mythification of History. Web.
Richard Wright in his story, Long Black Song, illustrates how a white phonograph sales representative seduces a black woman, Sarah. While her husband, Silas, a farmer, is off in the fields. On returning from duty, he discovers Sara’s infidelity, and this infuriates him.
It is a narrative told from Sara’s point of view, which serves as a reminder that her sexual abuse by white men on black women is condoned in white society. The revelation that, as Silas continues to gain on his property, he is losing on his wife. Ironically, his wife’s infidelity serves to the realization of what is, his most prized property leading him to swear to combat racism to the end.
In Like a Winding Sheet, by Ann Petry, the struggles of a poor, black couple living in “Ghetto” is rendered. In both stories, the black men illustrate anger in a form of violence on their wives, although their main source of anger is different. In Like a Winding Sheet, everyday routine of Johnson, a black male struggling with racism and social pressure, causes anger and frustration to build up inside him (Petry, 16).
Race and cultural superiority have contributed to a larger extend in shaping the aspect of gender identity in the two novels. Hence, a white believes, to assert more control and influence over the other races and gender. On the other hand, a black man embraces the mindset of being superior to the woman.
Thematic concerns
Wright and Petry, in an attempt to integrate the African American experience, values and their black background, their work is crafted in several thematic issues that recur in their writing. These include racism and intolerance, class, gender, violence, and sexuality intersects with social pressure. However, use of basic elements like the plot, characters, the mythic structure, and setting is similar in many ways there are differences in the way the two writers respond to issues of gender identity in their respective writings.
In Petry’s story Johnson, a black male, struggles with societal pressures and racism. Wright indicates the many challenges Silas is facing having to take up his family only to return and find his wife cheated on him with the white sales representative (36). Both highlight the class difference between the middle-class whites against the working class mainly composed of blacks.
Sexual assault is condoned on black women by the white men. Violence is a recurring problem as Silas in Wright’s story vows to die fighting against racism. Again, we see Johnson brutally beating his wife to death. Petry’s story illustrates the weakness of gender superiority complex and explores how the phenomenon sways the perception of gender identity in our society.
Structure and style of writing
Their system is similar in that they begin with a happy tone in Like A Winding Sheet Johnson and his wife, Mae appearing happy as he tries to revive earlier than her “to surprise her by fixing breakfast”(Petry,1). Nevertheless, because he has been working for long hours, he goes back to sleep.
In the Long Black Song, it starts as Sara is singing a lullaby, which is a reminder of her former lover called Tom who she would probably have married had he not gone to war. As the plots progress, there is a build-up of conflict. The biggest conflict of racism and injustice in Long Black Song is when he is shoot by Silas shoots the white man as came to collect money for the gramophone.
In, Like Winding Street, Petry, portrays the effects of frustration and anger happening to black couple because of poverty. Similarly, Wright claims that black people are oppressed. Petry describes African-American women struggling with an oppressive white dominated society. Both showing how they take a leap of faith towards the end and confront these injustices.
Petry, being a realist, argues that although African American especially women were unjustly oppressed they nonetheless would survive. As an early feminist and visionary, she brought to her compelling fiction of her perspective of two worlds the middle class mostly made up of the white people and the working class of black people in the inner city. To her, black people can only work to redeem themselves.
Wright believes in the necessary commitment to black salvation on the tolerance of an already existing societal history. Nevertheless, the story also displays Wright’s intuitive belief in Black Nationalism. His black characters, through experience brought about by racist violence, makes them understand their identities as “outsiders”, hence brings about emotional attachment among the black community (Wright, 35).
Black history and culture
While both authors give the true experience of any black American, religion and cultural impact, it is further emphasized in
Wright’s narrative as opposed to Petry’s. Petry’s links the early cultural association of blacks and whites with an early form of slavery lead by Europeans in Africa, and the modern issues such as women in the struggle for freedom.
Like a Winding Sheet has a great concern about the role of imagination on blacks as illustrated in Wright writings. Petry put herself in the mind of the characters (Petry, 59).
Wright is concerned with the definition of blackness, manhood, crisis, worth, and the sense of belonging impact black men’s understanding of emotional wellness. His assertion seems to concur with Saadawi and Hetata (76) as they argue that African Americans’ attitudes toward the emotional performances of black people is varied.
Gender equality is a social concern that recurs in many African American writings. Naturally, men are socialized to think about the importance of success, power, and competitiveness as seen in both Wright’s and Petry’s stories (Saadawi and Hetata 71).
In a society where too much pressure is exerted on them, and the struggle against racism, their anger is culminated in mixed emotions. Although Johnson, in Like a Winding Street, cares deeply for his wife, which is evident in a different part of the text as he struggles to ascertain his love against this pent up anger.
This is because; male socialization nature is hypothesized to illustrate feelings such as shame and anxiety related to women (Saadawi and Hetata, 84). We see this in Wright’s, Long Black Song where it is only until Sila’s wife infidelity that ironically brings to his realization that his main struggle is with the oppressive society in general (Wright, 39).
Although he physically assaults her, he is really in the process of trying to identify a balance with his anger against the white oppressors, aware of prescribed perspectives by society as a psychological defense. Both narratives show how when a man is confronted with problems he tends to depict stereotypical masculine gender role.
Conclusion
These authors both illustrates similarities and differences on how they portray the issue of gender identity in their work. The African American history, race, culture and experience have greatly influenced both the similarities and the differences in highlighting gender identity in the two stories.
Works Cited
Petry, Ann. Like The Winding Street. New York: HarperCollins Publishers, 1946
Saadawi, El Nawal and Hetata, Sherif. Women at Point Zero, London: Zed Books, 2007
Wright, Richard. Long Black Song. New York: Wiley pub, 1946
The poetic word does not depend on any time frames. Sometimes we can be impressed by the fact of discovering of certain similarities in the tones of two poems which were written by the poets who were separated by the whole century. William Blake published The Chimney Sweeper in 1789, and T.S. Elliot published his famous The Love Song of J. Alfred Prufrock in 1915.
The themes of these two poems can be considered as different. Nevertheless, there are some features which are similar for these poems. William Blake and T.S. Elliot discuss the peculiarities of the social development, personal roles and social positions in this developing society in their works. In spite of the fact the protagonists of the poems are of different ages and on different social stages, they both suffer from the social pressure and face social challenges.
William Blake belongs to the Romantic age in the literary process. This fact influences his peculiar focusing on the protagonist’s emotions, thoughts and feelings. However, his protagonists usually act according to the peculiarities of the historical background. The Chimney Sweeper of 1789 was published in Blake’s “Songs of Innocence”.
The theme of the poem can be considered as social injustice which can result in the problem of social pressure on young boys in England of the 18th-19th centuries. They were usually sent to work as chimney sweepers because their families suffered from great poverty. William Blake describes the peculiarities of their life with the help of Tom Dacre’s words in the first stanza of the poem.
The young boy’s emotional monologue represents the peculiarities of his life in which he “could scarcely cry weep weep weep weep. / So your Chimneys I sweep and in soot I sleep” (Blake 426). Thus, William Blake’s language is rich not only in sound devices which result in a unique rhythmic structure of the poem but also in many similes, symbols and images. The simile is also used to depict the appearance of the boy who looks like an innocent angel with “his head / That curled like a lamb’s back” in contradiction to his constantly being in black soot. “You know that the soot cannot spoil your white hair” (Blake 426).
The image of Angel appears in the boy’s dreams when he sees several sweepers “in coffins of black” (Blake 426). The image represents Tom’s belief in the happier future because in his dream Angel came “who had a bright key / And he opened the coffins and set them all free” (Blake 426). There are two important symbols and two images in the poem which can be considered as religious.
The symbols are the sky and the coffin and the images are Angel and God. William Blake created a symbolic poem in which he depicted a difficult social and economic situation in England using an ironical and hopeful tone. The irony is in the fact that Tom Dacre is not afraid of the death because he hopes that he will be freed by Angel and will become happy after his death.
The tone of The Love Song of J. Alfred Prufrock by T.S. Elliot is rather melancholic. T.S. Elliot wrote his poem when he was a student and only began his way as a Modernist poet. However, Modernism influenced the style of the poem which is written in the form of a dramatic monologue greatly. Moreover, T.S. Elliot used the Modernists’ technique of the stream of consciousness with the help of which the author depicts ‘random thoughts’ of the protagonist (Perrine). The theme of the poem can be considered as the person’s inability to act under certain life circumstances and on a definite social stage.
The form of a monologue influences the rhythmic structure of the poem which is characterized by a lot of repetitions and refrains which help to emphasize the protagonist’s thoughts in the stream of his consciousness. For instance, “In the room the women come and go / Talking of Michelangelo” (Elliot 981). The repetitions are also used in many questions in the poem, the most important of which is “do I dare?” (Elliot 981).
Moreover, the author uses repetitions to express the protagonist’s awareness of his growing older, “I grow old… I grow old” (Elliot 981). The concept of ‘time’ is also rather symbolic for the protagonist who repeats “There will be time, there will be time” (Elliot 981). T.S. Elliot also uses the metaphor for the expression of the protagonist’s attitude to time, to his death, and to the meaning of life, “I have measured out my life with coffee spoons” (Elliot 981).
The whole tone of the poem is rather pessimistic in comparison with that one of The Chimney Sweeper by William Blake because the protagonist of The Love Song of J. Alfred Prufrock does not see the escape from his melancholy, he is “like a patient etherized upon a table” (Elliot 981). This simile is very expressive and can be associated with a lot of allusions in the poem. The most interesting among them is the allusion to “Hamlet” by William Shakespeare. However, Prufrock declares “No! I am not Prince Hamlet, nor was meant to be” (Elliot 981).
In spite of the fact The Chimney Sweeper by William Blake and The Love Song of J. Alfred Prufrock by T.S. Elliot are written in different literary eras and have a lot of distinctive features, they are similar in the general aspects of their themes and in the presence of a great number of images and symbols such as ‘time’ and ‘death’ in these poems.
Works Cited
Blake, William. “The Chimney Sweeper”. The Norton Anthology of World Literature (Shorter Second Edition). Ed. Sarah Lawall. Vol. 2. USA: W. W. Norton and Company, 2009. 426. Print.
Elliot, T.S. “The Love Song of J. Alfred Prufrock”. The Norton Anthology of World Literature (Shorter Second Edition). Ed. Sarah Lawall. Vol. 2. USA: W. W. Norton and Company, 2009. 981. Print.
Perrine, Laurence. Sound and Sense: An Introduction to Poetry. 3rd ed. USA: Harcourt Brace, 1969. Print.
The central theme in Toni Morrison’s book, “Song of Solomon”, is the quest for self-identity. In the novel, the author narrates the life journey of a young man, “Milkman” Dead, who lacks enthusiasm for his life, is alienated from his relatives, his cultural roots and his community.
At first, Milkman appears psychologically and spiritually enslaved, but later, his aunt, Pilate, and his ally, Bains, help him to embark on a journey of self-discovery. It is through his quest for spiritual and physical restoration that Milkman is able to relate to his inner self and regain his sense of self-worth.
The events of Milkman’s journeys span over thirty years. In part I of the book (Chapters 1-9), Morrison narrates Milkman’s early life in his hometown, a small town in Michigan. From his birth to his early thirties, Milkman is spiritually empty; his aunt’s conservative tendencies and the father’s worldly lifestyle could not help him grow spiritually.
At one time, Milkman’s father and his sister, Pilate, are forced to flee their home following their father’s killing over land. Later, following a disagreement, they go separate ways only to meet again in this small town in Michigan. The two still have a grudge against one another and could not communicate. Towards the end of part I, Milkman sets out on a quest to find his aunt’s hidden gold, which, according to his father, would become his inheritance.
In part II, Milkman travels to the South ostensibly to search for gold (his inheritance). His quest leads him to a farm in Danville, Pennsylvania, his grandfather’s home. He would later trace his lineage to a small town, Shalimar, in Virginia and go there. It is in this small town that his quest ends when Milkman meets his paternal relatives and discovers his true self-identity.
Developing Milkman’s Quest
Morrison uses many narrative elements in part I in developing Milkman’s quest in the American South in part II. One such narrative element is setting. The South harbors Milkman’s past history particularly slavery in the South. Morrison uses the name “Southside”, Pilate’s residence in the town, to denote their southern ancestry, the origins of the Black population.
Thus, Pilate’s place gives Milkman a direct emotional connection to his ancestors in the South. Also, Morrison predicts the importance of Milkman’s journey to his southern ancestral home when he states that Milkman’s walk in the Not Doctor Street was dreamlike and strange following his quarrel with his father.
His quarrel with his father marks a turning point in his life as he learns of his father’s materialistic tendencies over family traditions. Also, in part I, as Milkman walks down this street to his aunt’s Southside residence, he encounters people “all going the direction he was coming from” (78). Here, Morrison signals that in order for Milkman to discover his identity, he will have to go against the grain and transcend not only the Northward migration of the Black population but also his selfish desires and pleasures.
Morrison, in part I, narrates Milkman’s inquisitiveness to know the meaning of one’s name to signify Milkman’s as well as his ancestral origins. It is the South that harbors the secrets of Milkman’s ancestral past and the origin of his family name, which they lost because of their high mobility. As his father explains, Macon Dead, was the name given to his grandfather by a Freedman Bureau official, which the Macon family kept because Milkman’s mother insisted that “it was new and would wipe out the past” (53).
His father’s explanation marked another turning point as Milkman later sets out to find his family origins and his true identity. By dropping their family name the Macon family lost their traditions and history. The surname is significant to the family as it gives them a sense of self-determination. Thus, Morrison uses Milkman’s urge to know his family name in part I to herald his subsequent quest to the South to discover his heritage and self-identity.
Another narrative element Morrison uses in part I of the novel to herald Milkman’s journey in part II is sequencing of events. Milkman’s self-alienation and disaffection to his family and the black community required complete restoration. He had lost his sense of heritage and therefore, could not relate well with his family or community.
Morrison first symbolizes Milkman’s uniqueness during his birth. He narrates that Milkman is born, the first Black baby, in an all-White hospital called Mercy Hospital. Morrison also narrates how Milkman’s prolonged breastfeeding distinguishes him from other children. At only age four, after Milkman learns that people cannot fly, he loses “all interest in himself’ and likewise has no interest in those around him (9). The author narrates how Morrison was excluded by other children while growing up.
His siblings treated him with “casual malice” (10), which, ironically, made Milkman, from an early age, to develop the urge to seek answers about his true identity and familial origins. The social exclusion Milkman suffers marks a turning point in his life as he realizes that he is different from other kids. It also makes him to seek to find out about his ancestry, hence his quest to the South.
As Milkman becomes older, his life is fraught with failures, partly because of his childhood alienation and lack of empathy and self-awareness. Morrison narrates that, at 22 years of age, Milkman still acts and behaves as a child. He writes that Milkman had not “thought of his mother as a person, a separate individual, with a life apart from allowing or interfering with his own” (75).
Also, Morrison portrays Milkman’s perceptions as inaccurate and self-centered. He assaults his father to please his mother but learns that “there was no one to thank him-or abuse him, his action was his alone” (68). This marks another turning point in his life, as he learns that he is responsible for his actions and by extension, his destiny.
Morrison also gives his point of view regarding Milkman’s actions. He states that Milkman’s “sleeping with Hagar had made him generous, or so he thought, wide-spirited, or so he imagined” (69). The author’s point of view portrays Milkman as a self-absorbed and selfish young man, with no dream in life.
It is no wonder the prospect of hidden treasures (gold) makes him set out on a quest to find it. Morrison also gives his views about Milkman’s adulthood dream. He states that Milkman contemplated relocating from the Not Doctor Street to a new place with “new people, new command. That was what he wanted in his life” (180). The author’s views and sequencing technique to herald Milkman’s future quest to the South.
Magical Realism in the Book
Morrison uses many examples of magical realism to advance the novels’ themes. One such example relates to his use of descriptions that appeal sense perceptions such as odors, tastes and colors. For instance, he describes the realistic, yet the mysterious quality of the smell of ginger, when he compares his hometown in Michigan with a mystical place in the Far East.
He writes: “An odor like crystallized ginger, or sweet iced tea with a dark clove floating in it… made you think of the East and striped tents and the sha-sha-sha of leg bracelets….” (184). His magical description evokes emotions of Milkman’s lost personal identity and culture. It helps to elaborate the novel’s realistic themes of bemoaning lost culture and personal identity. It underscores Milkman’ and his friend’s (Guitar) search for self-identity, which is a key theme of the book.
Another example of magical realism occurs in chapter 11. In this scene, Morrison describes the sounds made by the hunting dogs during the hunt. He describes the sounds as “all those shrieks, those rapid tumbling barks, the long sustained yells, the tuba sounds, and the drumbeat sounds… (278).
His depiction of the voices, though, distinctive and realistic, is, in time and space, shrouded in mystery. Morrison also links the conscious experiences and the memories of the characters’ past lives. Morrison uses this approach to advance the novel’s theme of the search for one’s self-identity as exemplified by Milkman’s search. It is through his epic search for self consciousness that readers understand the significance of familial and communal identity in his life.
Another example of magical realism that involves personal consciousness occurs in chapter 10. Morrison describes Circe’s house as “looking as if it had been eaten by a galloping disease, the sores of which were dark and fluid” (220).
She then proceeds to describe what is going on in Milkman’s memory including his flight from his hometown in Michigan to Pennsylvania, his final chat with his personal friend, Guitar, his journey on to Circe’s house and his interaction with his father’s friends before returning to Circe’s house where Milkman is.
This approach of superimposing past memories with the present is an important magical realism technique that helps Morrison to describe the dynamics of the characters’ conscious experiences.
A new sense of self-identity transforms the once narcissistic Milkman into an empathic man as shown in his realistic interaction with his girlfriend, Sweet: “He made up the bed. She gave him gumbo to eat. He washed the dishes… He scoured her tub (285). Here, Morrison encourages greater consciousness among the black people to seek to understand their history and community identity. Her description of how Milkman connected with his personal and familial consciousness borders magical realism.
Milkman, in chapter 15, on completing his quest, reflects on the people he has interacted with and how they helped shape his destiny. He becomes conscious of his familial and community origins as shown in the list of names of his black kinsmen. Morrison uses this mental imagery to illustrate the book’s theme of personal and community sense of identity.
Toni Morrison’s Female Character Portrayal
Morrison depiction of the female characters in the novel illustrates the defects of gender relations among the blacks. She portrays female characters as crucial in the development of personal and community identity. All the females Milkman interacts with, though he mistreats them, help him discover his self-identity.
One such female character is Pilate, an influential figure in Milkman’s life, who, unlike Macon Dead, is conservative and disdainful of Macon’s materialistic lifestyle. Morrison uses Pilate to represent the deep connection that females have to their people and ancestors. A stark contrast to Pilate values her ancestry and longs for a reunion with her relatives in the South. However, to her brother, Macon, kinship is not important.
Pilate plays a crucial role in Milkman’s life. Her incomplete song makes Milkman to seek for the missing words of the song later in the book. The words of her song are symbolic because she is attempting to assist Milkman discover his identity.
At the end of the book, Milkman gets all the words and is able to sing the entire song, which makes him feel that he has found his true identity. Pilate helps Milkman, who had lost all personal and cultural consciousness because his father was ‘dead’ emotionally, to discover himself. Thus, Pilate helps to develop an emotional connection to his ancestors.
Morrison also portrays female characters as role models. In the novel, all of Milkman’s role models are females who guided him throughout his life. Even his close male friend, Guitar, is a rogue murderer who could not guide Milkman. In the end, Milkman discovers that Pilate’s teachings were relevant to his final destiny, though, initially, he had sidelined her. As it turns out, Pilate is the most influential figure in Milkman’s quest for self-identity.
Works Cited
Morrison, Toni. Song of Solomon. New York: Vintage International, 1977. Print.
In the poem “Heaven,” Cathy Song, an Asian writer, delicately recounts a situation between the speaker and her youngster. Her Asian son believes that when he passes, he will enter Chinese heaven where everyone will appear like him, with the exception of his blond hair. The boy’s hand expands out to represent the range between his house and China as they study the map. Their house, which is most likely in Colorado, appears just as a black dot. By invoking recollection and isolation, Song epitomizes the romantic spirit. A woman who is estranged from her Chinese origin longs for her ancestral homeland and has never seen it in the poem. She confesses her skepticism about her current location but wants to envision herself in China, where her family originated.
Since her grandfather worked on the railway, the poet imagines that their household was similar to the untamed West of the past and that he never imagined that this would be the place where he would perish. She even worries if there is a youngster in China who, like her child, wishes to immigrate to the United States. She, like his ancestor, wonders why I’m here and why this location. For the past two generations, no one in her family has considered returning to his birthplace. She and her family members can see the peaks and the clear blue skies from their backyard. Her son, who wishes to visit China, imagines the washing on the hanging as his vessel, complete with sails billowing in the weather, carrying him all the path to heaven.
The poem’s central theme is the significance of relatives and genealogy in forming one’s identity. Throughout the poem, the author expresses her dissatisfaction with her life in America. She ponders her grandfather’s background and how he came to be in this new country. Despite the fact that she resides in America and has never visited China, she considers the nation and its relationship with her parents to be important in her life. She looks to be proud of her ancestors, yet she is perplexed as to why her grandfather made the choices he did.
The protagonist is a Chinese youngster who has lived in the United States for an extended period of time before the writer penned this poem. The protagonist worked at a train station. He “helped to build the railroads for a dollar a day” (Song, 1988). The youngster appears to have just left his birthplace in pursuit of work and wealth, and he constantly intended to return to China; nevertheless, he never did. The following are the arguments in favor of this position: “He had always meant to go back,” and “each mile of track led him further away” from home (Song, 1988, para. 4).
Her grandfather (this Chinese youngster) died in his sleep, according to the authors. “dispossessed,” “having seen Gold Mountain” (Song, 1988, para. 4). The Chinese referred to the western areas of the United States as the Gold Peak. These lines imply that the boy did not depart the United States as an adolescent. However, “this notion of returning” was handed down through the centuries to the author’s son, a blond-haired child who fantasizes about Chinese paradise (Song, 1988, para. 5). It demonstrates that the sentiments that the narrative’s main subject had as a young child were passed down to other brothers and sisters. By employing this literary metaphor, it is reasonable to deduce that Song relates to the remembering of forefathers. At the same time, the central protagonist, a Chinese boy, represents her family’s racial heritage because he gives the family’s ethnocultural identification a start in the new place by surrendering his goal of coming back home.
The narrative’s three concerns are combined in the final stanza. While the goals of different eras change, they all lead to the same conclusion: heaven. While each family member may have a more profound interpretation of what paradise is, they can all agree that utopia can be seen all the way there through those immense peaks and pancake plains. Thus, the poem sums up the entire narrative of the above into a single thought.
To summarize, the Asian author carefully portrays a scene involving the speaker and her child. Her Asian son thinks that after he dies, he will reach Chinese paradise, where everyone will look just like him, apart from his blond hair. Song embodies the amorous essence by evoking reminiscence and solitude. In the poem, a woman who is divorced from her Chinese ancestors’ pines for her ancestral lands, which she has never seen. She admits to being skeptical about her present location but wants to imagine herself in China, where her family comes from. In the final section, the three constraints of the story are united. While various time periods have different purposes, they all lead to the same place: paradise. While each close relative may have a further understanding of what heaven is, they can all accept that perfection can be seen through those massive hills and flatter plains all the distance there.
Girl Powdering Her Neck is a poem by Cathy Song. The poem contains a description of an artwork that is a Japanese woodblock print. This print depicts a woman looking in the mirror. In the poem, Song expresses her thoughts and perception of the artwork. The author uses her imagination to elaborate on who the woman in the print may be, where she is, and what she is doing.
Structure of the Poem
The poem under discussion is written using a blank verse structure which stands for the absence of rhyme. In terms of stanzas, the poem does not have a stable division. Instead, it is subdivided into pieces by their contents. In total, there are seven parts in this poem. The work starts and ends with parts that could be recognized as the introduction and conclusion. In the middle, it is divided into several bits that describe the room, the girl’s hair, her morning ritual, clothes and face, and the way she looks at her reflection in the mirror. When it comes to rhythm, the poem does not have one either. The length of the lines differs significantly throughout the poem. Some of them contain eight to ten syllables, and some – only three or five. Finally, the last part seems to be a haiku as it contains seventeen syllables, but instead of the traditional 5-7-5 structure, it has one misplaced syllable forming a 5-8-4 structure.
Language Devices
The poem is delivered in the form of a narration where the author provides a detailed description of the girl who is getting ready in the morning. Painting the verbal picture, the author mentions a variety of aspects of the environment that surrounds the girl. When Song writes about the girl’s appearance, she uses simile several times. For example, describing the girl’s hair, Song writes “Her hair is black/ with hints of red/ the color of seaweed/ spread over rocks” (12-15). In these lines, the author likens the girls’ hair to seaweed due to the similarity in color, and perhaps, shape and structure. Two more examples of simile are in the following lines: “and the curve of a shoulder/ like the slope of a hill” (30-31), “her face appears in the mirror/ a reflection in a winter pond” (34-35). I like how the author compares the girl’s appearance and actions to the beauty of nature because, in my opinion, the natural beauty of hills, ponds, rocks, and water with seaweed is more striking than anything made by people. Moreover, the author uses several metaphors in the following lines: “maple leaves/drifting across the silk” (25-26) and “the mouthparts/ as if desiring to disturb” (43-44). Here, embroidered leaves are portrayed as moving objects, and the girl’s mouth – as an animate individual with desires.
Sound Devices
In terms of sound devices, the author uses assonance in the first line: “the light is inside” (1) repeating the stressed vowel sound, and alliteration – in the second line: “sheen of an oyster shell” (2) repeating the initial consonant sound. Moreover, dissonance may be found in the following line: “stenciled into the mask of beauty” (48). Here, it is possible to hear a chaotic sound that is emphasized by this line being longer and more difficult to pronounce than all the others.
Conclusion
In summary, the poem by Song is very beautiful and complex. The author put much effort into its creation. Also, the poem reveals that Song was inspired by the print she describes and put some thought into its exploration. Comparing the girl and her ritual to various shapes and phenomena that occur in nature, the author compliments her beauty and adds a very unique tone to the poem. For me, the poem is associated with zen philosophy, minimalism, and at times sounds like Japanese instrumental music.
Chinese poetry is one of the most popular literature genres in China. The variety of dynasties, their unique and unpredictable approaches to the representation of their ideas, their unbelievable passion to writing – all this seems to be amazing in the world of Chinese literature.
The Tang Dynasty, Song Dynasty, or Yuan and Ming Dynasty – each of them adds more captivating details to poetry and makes this genre more and more popular. Right now, among all Chinese dynasties known, I want to single out the Song Dynasty and its magnificent poetry. Though this poetry is originated from the Tang Dynasty, there are so many differences which are worthy of attention.
The Song Dynasty has many famous writers who have made considerable contribution to the development of poetry and the role of Chinese literature in the whole world. Such writers like Du Fu, Liu Zongyuan, Li SHangyin, Tao Qian, Su Shi, and Mei Yao-ch’-en introduce the works which help to connect normal everyday routine to some large issues and to analyze people’s ordinary actions from the philosophical perspective.
During the Song Dynasty, Chinese poetry gained true and worthwhile recognition as the poetry of the ci form. This form is characterized by the deep expression of feelings such as desire, passion, and care. However, it is not the only issue that makes ci form poetry recognizable. To understand deeper the ideas which are introduced in the Song Dynasty poetry, it is better to pick out several poems and try to evaluate the messages represented by the authors.
In this paper, such poems like Writing of My Sorrow by Mei Yao-ch’-en and The Immortal by the River by Su Shi will be analyzed because they help to feel what may improve this life, what are the most crucial aspects of this life, and what people have to be the most important in this life.
Writing of My Sorrow by Mei Yao-ch’-en
Writing of My Sorrow is the poem written by Mei Yao-ch’-en from the Song Dynasty. This author is known as one of those Chinese writers who introduce a new style of poetry that is characterized by numerous descriptions of ordinary life’s aspects. His personal experience influences considerably his poetry and his writing style. Even the title of this poem shows that this author relies a lot on his personal emotions, his personal pain, and his sorrow. “My two eyes are still not dry,/ my heart desires only death” (Yao-ch’-en 578).
The emotional state of the author makes the reader think about the events that happened to this man. He lost his wife and his son. He cannot imagine what may improve his situation. He is in the trap that is created by this life. It is useless to fight against the destiny; it is wrong to be mad on someone; and it is too late to admit the fact that family is the only thing that makes this life fulfill.
The author makes numerous attempts to answer the questions “to whom now can I turn?/ Emaciated, a ghost in the mirror” (Yao-ch’-en 578). Is it possible to get the necessary answer from the ghost? Is it correct to believe that the other world exists and hides those who are already dead from those who are still on the earth and waiting for their time?
Mei Yao-ch’-en demonstrates one of the most captivating and appropriate ways of how to unite everyday life and personal experience to larger and more important ideas. His words influence considerably human state of mind and attitude to this life. Though death of close relatives should not be a normal experience for people, this event is hard to overcome or prevent.
Death will never cooperate with people; death comes, takes someone’s soul, and disappears. It becomes clear that the main philosophical aspect of this novel is the issue of death and its significant impact on human lives. “Rain falls and soaks into the earth,/ a pearl sinks into the ocean’s depths” (Yao-ch’-en 578).
Can it be that the author chooses water by chance or in order to underline the connection between death and water? It is possible to give different questions, and in my opinion, the idea to united water and the issue of death is one of the most brilliant steps in this poem. People spend much time to subjugate oceans and seas, however, they are not sure of their victories and success.
I think that one of those philosophical messages which the author wants to send to the reader is the necessity to comprehend that life is too short, and it is impossible to be sure to “return to the source below” (Yao-ch’-en 578). This is why it is better to enjoy what you have now and try to help the other do the same. Life is complex and unpredictable, and people have no other way but accept it as it is without attempts to resist.
The Immortal by the River by Su Shi
Su Shi is one of the brightest representatives of the Song Dynasty whose poetry attracts the attention of many readers. The style of this writer perfectly suits the requirements offered by the Song Dynasty period: he makes use of the ci form in order to underline the joys of this life and explain how people can relax and get pleasure.
However, his Immortal by the River is not about all those joys of life but about the turmoil that the author wants to escape (Shi 690). This poem introduces a bit grievous picture of the events the author has to face. It is impossible to prevent everything; it is hard to live this life day by day; and it is very difficult to be good for everybody around and lie to oneself.
The style of life described by the author makes it possible to enjoy and even be drunk of the walk through East Slope (Shi 690). If we talk about ordinary things in this life and their interpretations from the philosophical perspective, this poem by Su Shi may be used as the most appropriate example. With the help of several lines, the author shares his personal disappointments concerning this life and his role in it.
He returns home to his “house-boy” who “snores like thunder” and thinks about one thing that his “body belonged to someone else” (Shi 690). No, he is not tired of his family and his house. He gets tired with the idea of living in the same way. This is why he decides to address and trust to the sea and its calm. Su Shi is another author who finds a kind of relief in water. Water is calm; water makes people free; water is able to relax and relief.
It is possible to become immortal in the river and admire all those amenities of this life. When a person is close to water, he/she is able to feel something that has never been felt before. It is not painful, scared, or difficult. It is just another way out; the solution that is in so demand by the author and the reader who tries to get the lessons from this poem. Does this poem have philosophical roots? Of course, it does! Even more its educative side is able to heel the reader who is sick and tired of this life and the character of the poem.
These two poems become a kind of Grail in the Chinese literature. Mei Yao-ch’-en and Su Shi represent unbelievable picture that teaches, impresses, and makes the reader think about the essence of this life and the issues that fulfill this life.
It does not take much time to read the poems of the Song Dynasty and enjoy the way authors use to share their ideas, their hope, and dreams. There are so many troubles which worsen this life, and it becomes possible to get the necessary solutions and answers in poetry, in water, in the air. The only thing that is required is the desire to observe, think, and evaluate everything around.
To get an opportunity and become immortal because of the river or to be able to survive after the death of dear people – these are the main lessons which may be got after the reading Yao-ch’-en’s Writing of My Sorrow and Shi’s Immortal by the River. On the one hand, it seems to be impossible; and on the other hand, it opens a new world that helps to re-evaluate this life and our role in it.
Works Cited
Shi, Su. “The Immortal by the River.” In Stephen Owen An Anthology of Chinese Literature: Beginnings to 1911. New York: Norton, 1996.
Yao-ch’-en, Mei. “Writing of My Sorrow.” In Stephen Owen An Anthology of Chinese Literature: Beginnings to 1911. New York: Norton, 1996.